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The PHONOGRAPH 

and How to Use It 



BEING A SHORT HISTORY OF ITS 
INVENTION AND DEVELOPMENT 
CONTAINING ALSO DIRECTIONS 
HELPFUL HINTS AND PLAIN TALKS 
AS TO ITS CARE AND USE, ETC. 



Including also a Reprint of the 
Openetr Papers and Phonograph Short Stories 

Three Greek Roots 
What Mr. Openeer Heard 
How We Gave a Phonograph Party 
The Secret of Making Phonograph Records 
The Phonograph as an Aid to Language Study 
The Phonograph as an Aid to the Arts of Stenography 
and Typewriting 



SET INTO TYPE AND IMPRINTED IN NEW YORK IN 
THE YEAR M • D • C • C • C • C 



TWO CO Pit 

Library of Cgb£*<jh% 
Officii of tM 

MAR2-1900 

Wegl«t»r of Copyright* 



*° N 



55954 



' ^*c 



<^ 



Copyright 1900, by 

Thk National Phonograph Company 

All Rights Reserved 




/ 



8I0ONB COPY, 

V% 0-/3 



TABLE OF CONTENTS. 



Part First. — The Phonograph. 

Chapter I. History — Ancient, Medieval and Modern, n 

Chapter II. Prophecy, 15 

Chapter III. More Modern History, ... 20 

Chapter IV. The Story of the Invention, ... 23 

Chapter V. The First Phonograph, ... 25 

Chapter VI. Pictorial and Commercial Histor}-, . . 27 

Part Second. — How to Use It. 



Introduction, . 
Chapter I. The Gem, 



Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 
Chapter 



II. The Standard, 

III. The Home, . 

IV. The Spring Motor, 

V. The Concert, . 

VI. The "M" and "E' 

VII. The "M" Concert, 



Electric, 



" Coin Slot, 
Coin Slot, 
Concert Coin Slot, 



VIII. The' k H 

IX. The"M" 

X. The"M" 

XI. Batteries, 

XII. Repeating Attachment, 

XIII. Blanks and Records, 

XIV. Shaving, . 

XV. Dictating, 

XVI. Speakers, 

XVII. A Word about Belts, 



Part Third. — The Openeer Papers. 

Chapter I. What Mr. Openeer Heard, 
Chapter II. How We Gave a Phonograph Party, 
Chapter III. The Secret of Making Phonograph Records, 
Chapter IV. The Phonograph as an Aid to Language 

Study, 

Chapter V. The Phonograph as an Aid to the Arts 

of Stenography and Typewriting, . 
Chapter VI. Three Greek Roots, 



4i 
46 

5i 
60 
68 
78 
80 

9i 

93 

103 

105 
109 
116 
118 
122 
124 
127 
131 



135 
145 
152 

160 

166 
*77 



PART FIRST 

THE PHONOGRAPH 



FOREWORD 

Much has been written concerning the Phono- 
graph since Thomas A. Edison startled the world 
with the first tin foil machine •, a round generation 
ago. The history of its development, step by step 
would fill volumes. The earlier types have be- 
come obsolete in the march of progress. It is the 
purpose of this book to illustrate and describe , not 
only the first distinctly practical Phonograph of 
Commerce {the type M Electric Phonograph) but 
all the subsequent types and styles ; together with 
the various attachments which are now in every- 
day use. 

What with the diagrams and the plain instruc- 
tions , it will be demonstrated that the Phonograph 
is as easy to take care of and as simple to manage 
as any mechanical movement that is thoroughly 
understood by its operator. 

[Ed.] 



CHAPTER I.— History. 



ANCIENT. 



From the beginning of Time, marHnd has 
sought to reproduce by mechanical means, the 
sounds of the Living World. Of the great antiq- 
uity of musical instruments there are many 
evidences ; but the first attempt to simulate the 
human voice is doubtless the wonder- 
ful statue of Memnon at Thebes, dating 
back to the 18th Egyptian Dynasty, 
B. C. 1490. Two colossal statues still 
stand on the west bank of the Nile, 
near the present village of Karnak, 'mid 
the ruins of some eighteen 
others. At one time, the 
most northern gave forth 
sounds at sunrise, supposed 
to be Memnon 's morning sa- 
lute to his mother Eos, the Goddess of Dawn. That this is more 
than a mere fable seems to be attested by several cuniform inscrip- 
tions on the base of the statue, placed there by famous travellers. 
The statue was tumbled over by an earthquake in B. C. 27. 
Strabo, one of the earliest globe trotters on record, visited Memnon 
in the year 7 A. D., and writes rather cautiously of the voice, 
calling it merely a noise. Other writers (among them Tacitus, re- 
cording the visit of the Roman General Germanicus A. D. 79) 




12 HANDBOOK OF THE PHONOGRAPH 

refer to the sound as distinctly musical ; while still other enthu- 
siastic writers dignify it as a song. Among the notables whose 
visits to the statue are recorded, are Titus Petronius Secundus, 
a Roman Prefect, A. D. 82, and the Emperors Hadrian, A. D. 140, 
and Septimius Severus, A. D. 194. 

Several of the inscriptions (the earliest dating A. D. 65) ex- 
press or imply the idea that Memnon when entire, could speak in 
language ; but since his mutilation was reduced to inarticulate 
sounds. The best of the lot is by one Asklepiodotus, the imperial 
procurator : ' ' Know, O sea-born Thetis, thai Memnon could not 
die. When the hot rays shed by his mother [Eos] fell brightly 
upon him, his clear song rings out while the Spreading Nile parts 
the Lybiarr hills from hundred gated Thebes." 

The statue was restored A. D. 196, by Septimius Severus, 
soon after his visit ; but alas ! the wonderful gift of speech had 
departed. 

MEDIEVAL. 

During the next ten centuries, there are instances without 
number of talking automatons that have been genuinely con- 
structed to perform mechanical wonders, but the voices have been 
produced by trickery; either a concealed person has talked through 
tubes or by echo from a concealed position. 

The first authentic talker appeared in the 13th century, when 
Friar Roger Bacon, the early English Philosopher, constructed an 
ingenious talking head. 

Gerber, a German Monk of an earlier period than Bacon, is 
said to have made a most wonderful brazen head that talked, as 
did also Albertus Magnus; but there is so much that is legendary 
interwoven in the records that all but Bacon's head may be fairly 
put down as fables. Bacon's talking machine was doubtless sug- 
gested by the Speaking Head of Orpheus, which was an awe in- 
spiring enigma to the early Greeks ; but it is more than probable 



HISTORY 1 3 

that this wonder was to be accounted for on the same principle as 
the vocal power of the colossal statue of the Indian God, Siva 
(the Destroyer) where a seat was provided for a priest tinder 
the headgear of the figure. In the case of Memnon however, it 
is generally conceded that the sounds were due to some artifice of 
construction or peculiarity of material used rather than the decep- 
tion of priests ; thus establishing it as the first talking statue. 
The same may be said of Bacon's head. Its verity is vouched for 
by early testimony, thus establishing it without doubt as the first 
talking automaton. 

MODERN. 

From Bacon to Faber of the present time is a long step, with no 
great achievement to chronicle, unless we except the famous duck 
of Vaucanson, so often referred to as one of the mechanical won- 
ders of the century. This was constructed in 1 740, and astonished 
all beholders by not only quacking in a life-like manner, but by 
waving its wings, pluming its feathers, eating grain and even 
digesting its food. The crowning point of mechanical ingenuity 
was reached by Herr Faber, a Vienna experimenter, who in i860 
built a most elaborate talking man, which easily stands at the 
head of all talking machines of the automaton class. 

A brief description of Faber' s talking man may be of interest. 
It has flexible lips of rubber, and also a rubber tongue, inge- 
niously controlling vowels and consonants. In its throat is a tiny 
fan wheel, by which the letter V is rolled. It has an ivory reed 
for vocal cords. Its mouth is an oval cavity, the size of which is 
regulated by sliding sections, rapidly operated from a key -board. 
A tube is attached to its nose when it speaks French. It is really 
a most wonderful piece of mechanism, but a hundred times more 
complicated than Mr. Edison's Phonograph of 1887, or the per- 
fected Phonograph of to-day. 

But Faber and his predecessors were on the wrong track in 



14 HANDBOOK OF THE PHONOGRAPH 

attempting to solve the problem of sound reproduction in this 
manner, on its physical side. Faber sought a cause; Edison saw 
an effect, and said, " The Thing is there, it has but to be found." 
Faber started from the source of the sound, and built a mechan- 
ism, reproducing the causes of the vibrations that made articulate 
speech. It remained for Edison to start from the vibrations; to 
obtain the mechanical effects of such vibrations ; to record them on 
a pliable material and then to reproduce them. 

Faber copied the movements of the vocal organs, Edison 
studied a vibrating diaphragm, and reproduced the action of the 
ear drum when acted upon by the vibration caused by the vocal 
organs. 

The reader whose interest has been aroused and who desires more complete and 
detailed information concerning this and succeeding chapters can consult the following 
authorities with profit. [Ed.] 

George Ebers, Egypt. Vol. 2, pp. 268-272. 

George Rawlinson, Story of Ancient Egypt, pp. 210-216. 

J. A. Setronne, The Quarterly Review, 1875. 

George B. Prescott, The Electric Telephone. 

Count du Moncel, The Microphone and the Phonograph. 

Thomas A. Edison, North American Review, 1878. 

Thomas A. Edison, North American Review, 1888. 

Geo. P. I,athrop, Harper's Monthly, 1890. 

Chas. D. I^anier, Review of Reviews, 1893. 

Johnson's Encyclopedia. 

Encyclopedia Britannica. 

Groves Dictionary of Music. 



CHAPTER II.— Prophecy. 



LET us now step into the realms of literature, and note what 
has been written of the Phonograph in the line of prophecy; 
if indeed such fanciful predictions and visionary foreshadow- 
ings as we shall quote can be justly termed prophetic. Yet all 
prophecies are but vague foreseeings. To-day we are speculating 
on human flight and ultra rapid transit in vacuo. We are guessing 
and experimenting at many problems which may become realities 
at any moment. Seeing by telephone is almost accomplished, 
and wireless telegraphy is a fact. The unknown of to-day may 
be known to-morrow. Fact springs from Fancy in the Present; 
as it has in the Past, and as it will in the Future. So listen! 

John Wilkins, Bishop of Chester, who died in I^ondon in 
1672, was an accomplished theologian, scientist, mathematician 
and physicist. In his work on Mathematic Magick (1651), he 
says : ' ' Some have thought it possible to preserve the voice, or 
any words spoken, in a hollow trunk or pipe, so when this pipe is 
rightly opened the words will come out of it in the same order 
wherein they were spoken." 

This is perhaps a very rough anticipation of the Phonograph. 
To charge a tube with words, as a cannon is loaded with powder 
and shot, beforehand, to be rattled out like the frozen up tunes in 
Baron Munchausen's trumpet when a thaw came — it was cer- 
tainly a most original theory. 

Again listen ! 



1 6 HANDBOOK OF THE PHONOGRAPH 

In 1 620- 1 655 there lived a French poet and philosopher, by 
name Savinien Cyrano de Bergerac, whose fame has been but 
recently refurbished by the playhouse and M. Rostand. In 1656, 
a year after his death, there was published his ' ' Histoire Com- 
ique en Voyage dans la Lune," a manuscript written in 1649. It 
describes adventures in the Moon, and comments on the manners 
and customs of the lunar inhabitants. A hollow sky-rocket and 
an explosion ; and the adventurer finds himself in the Moon. 
The story combines the romantic plausibility of Jules Verne with 
the gentle irony and ingenious wit of Dean Swift's " Gulliver." 

Bergerac found the Lunarians had two kinds of speech. The 
upper classes used songs without words; and the populace, the 
speech of limb-motion. They lived on odors, for money used 
couplets and quatrains ; their vegetables talked ; (the soliloquy 
of a cabbage being one of the quaintest conceits of human 
thought) . Their books are described as machine books ; as 
follows : 

* ' ' No sooner was his back turned [he speaks of his Guide, 
whom he terms his " Spirit"] but I fell to consider attentively 
my Books and their Boxes, that's to say, their Covers, which 
seemed to me to be wonderfully Rich; the one was cut of a single 
Diamond, incomparably more resplendent than ours ; the second 
looked like a prodigious great Pear, cloven in two. My Spirit 
had translated those Books into the Language of that World ; but 
because I have none of their Print, I'll now explain to you the 
Fashion of those two Volumes : 

As I opened the Box, I found within somewhat of Metal 
almost like to our Clocks, full of I know not what little Springs 
and imperceptible Engines. It was a Book, indeed, but a Strange 
and Wonderful Book, that had neither Leaves nor Letters. In fine, 
it was a Book made wholly for the Ears and not the Eyes. So that 
when any Body has a mind to read in it, he winds up the Machine 

^Translation by A. Novell, A.M., Iyondon, 1867 ; pp. 122-124. Doubleday & McClure 1899. 



PROPHECY 1 7 

with a great many little Springs ; and he turns the Hand to the 
Chapter he desires to hear, and straight, as from the Mouth of 
Man, or a Musical Instrument, proceed all the distinct and different 
Sounds, which the Lunar Grandees make use of for expressing 
their Thoughts, instead of Language. 

When I since reflected on this Miraculous Invention, I no 
longer wondered that the Young-Men of that Country were more 
knowing at Sixteen or Eighteen years Old, than the Gray-Beards 
of our Climate; for knowing how to Read as soon as speak, they 
are never without Lectures, in their Chambers, their Walks, the 
Town, or Traveling ; they may have in their Pockets, or at their 
Girdles, Thirty of these Books, where they need but wind up a 
Spring to hear a whole chapter, and so, more, if they have a mind 
to hear the Book quite through; living and dead, who entertain 
you with Living Voices. This Present employed me about an 
hour, and then hanging them to my Ears, like a pair of Pendants, 
I went to Walking. ' ' 

This last paragraph certainly reminds one of the hearing- 
tube attachment, and conjures up the pictures of people one has 
seen listening, which pleased expression, to the Phonograph of 
to-day. 

These are the earliest writings to be found that bear 
prophetically upon the subject. Compare now with another 
prophecy, written in 1878, after Edison's Phonograph had startled 
the world. 

* ' ' Then as to books, there seems some chance ere long the 
printer's if not the publisher's occupation will be gone, and the 
present unwieldy form of communication between an author and 
his readers be abolished. What would not one give to have 
the ' Christmas Carol ' bottled up forever in Dickens' own voice, 
to be turned out at pleasure. Books, as Mr. Edison truly says, 
would often be listened to where they are not read ; and the 

* From " Nature," Vol. XVIII, p. 117. 



1 8 HANDBOOK OF THE PHONOGRAPH 

possibilities of the instrument in this direction may be learned 
from the fact that a book of 40,000 words might be recorded on 
four cylinders, eight inches long, with a diameter of five inches. ' ' 

Coming down to recent times we find in Tom Hood's "Comic 
Annual" 1839, the following: "In this century of inventions, 
when a self-acting drawing paper has been discovered for copying 
visible subjects (referring to Daguerre's improvements in Photog- 
raphy) who knows but that some future discoverer may find some 
sort of writing paper to repeat what it hears" — a prophecy literally 
fulfilled by the indented tin-foil sheet of the early Phonograph. 
Then again in 1844, Captain Matthew F. Maury (the famous hy- 
drographer, the father of the United States Weather Bureau of 
to-day) wrote to a friend : * "What a pity it is that M. Daguerre, 
instead of Photography, had not invented a process of writing by 
merely speaking through a trumpet at a piece of paper. Instead 
of saying ' I wrote you a letter ' the phrase would be ' I spoke you 
a ream.' " The prophesying becomes more exact as the time for 
the invention draws nearer. 

Again, in 1855 (to quote from that happy essayist, George 
Parsons Lathrop) in an obscure book called f ' ' Helionde, or Ad- 
ventures in the Sun," there was printed another allusion to a 
supposed invention of the same sort, to this effect. " Aleutedon 
here informed me that authors had no occasion to employ manual 
labor in their publications, for they had only to repeat their ideas 
aloud, and the vibrations of the air differing accordingly to the 
words used, set in motion a very delicate machinery , which stamped 
indelibly the language expressed. Copies could afterward be 
taken in any number. " It is interesting to note that even the 
terms used to express these predictions are closely allied to the 
true facts of the invention. 



* See Memoirs, published in London in 1888. 

tThis anonymous writer evidently had for his source of inspiration Bergerac's '* His- 
toire Comique," an extract from which has been quoted in full.— [Ed.] 



PROPHECY 19 

Again, we find in 1875, that Jean Ingelow wrote a fairy tale in 
which there figures a strange instrument called an ' ' Acousti- 
graph ' ' which recorded music of all kinds, and reproduced it 
most weirdly and wonderfully. These instances may or may not 
be called prophecies, but they are wonderfully akin to a super- 
natural foreshadowing of the coming event, which is now to 
happen so soon. 



CHAPTER III.— More Modern History. 



MEANWHILE in the world of Physical Science there had 
happened certain mechanical experiments and discover- 
ies, which may be termed material prophecies, all of 
which pointed to the birth of the idea. There was Duhamel in 
the early 1700's with his lamp-blacked revolving cylinder, on 
which he traced sound curves. Then in 1747, the Rev. J. Creed 
proposed to make a machine to record extempore piano-forte or 
organ voluntaries. Following up the same idea, Hohlfeld of Berlin 
working with Euler, the mathematician, constructed in 1752 a 
crude music recorder called the Melograph. About the same time, 
another German mechanician, J. F. Unger, was also working on 
a similar instrument, and he finally proved priority of conception, 
dating his idea from 1745, even before Creed. Then one Pape of 
Paris, attracted considerable attention in 1824, with a music re- 
corder; followed by Carrey re, in 1827, with his Melographic piano, 
in which the music as played was represented by certain signs im- 
pressed in a very thin plate of lead. In 1836, Eisenmanger of 
Paris, took out an English patent for an apparatus to record piano 
music, using a depressed stylus and carbonized paper. Then 
followed M. De Tressog of Paris in 1840, and Merzelo, an Italian 
in 1856, each with apparatus of a similar nature. * 



* The dreams of these early inventors have become realized. The closing year of the 
19th Century finds many automatic devices for recording piano music, not only perfected, 
but within the reach (at nominal prices) of the great music loving public. 



MORE MODERN HISTORY 21 

All these machines, you will note, had for their object the 
recording only of music, and especially the piano or organ ex- 
temporizations. The growth of the perfected piano from the 
early clavier and clavichord, and the use of these instruments by 
the great German composers (Bach and Handl in the early 
1700's, Haydn, Mozart and Beethoven, toward the close of the 
century, Spohr, Chopin, Mendelssohn, Meyerbeer and Liszt, in 
the i8oo's), all this musical activity combined, brought with it 
the desire for an invention to record permanently the improviza- 
tions of these great artists and composers. So it is that Art 
fosters Science. 

Following the keynote struck by Duhamel (the restless and 
fruitless searchings and strivings thus far recorded being but 
variations of the fundamental) the next note in the grand melody 
of Progress was sounded by Leon Scott, working with Konig in 
1856, with his Phonautograph ; recording the graphic traces of 
vibrations in sinuous scratches upon a smoked surface (useless, 
you will note particularly, for the purpose of reproduction of 
sounds) . 

Then came Fenby * with a patent, in 1863; closer and closer, 
but as yet not practical for an exact recording, and still less so for an 
exact reproduction of sound. Then came M. Charles Cros in April, 
1877, (seven months before the date of the Edison patent, but 
several months after patent was filed). He deposited with the 
Academie des Sciences a sealed packet, which was opened at the 
December sitting of the Academy. It contained a general de- 
scription of a device similar to the gramophone of to-day, the in- 
vention claimed by Berliner of telephone fame, in his patents of 
1887-8. 

In November, 1877, came the announcement of Mr. Edison 
that the phonograph was an ACTUALITY. The culminating 



* In 1863, F. B. Fenby, of Worcester, patented "The Electro Magnetic Phonograph" 
(the same words which Edison employed some 14 years later). The scheme was compli- 
cated and no machine was ever made.— Grove's Dictionary of Music, Vol. IV, 767. 



22 HANDBOOK OF THE PHONOGRAPH 

point of a generation of vague strivings had been reached. The 
fanciful foreshadowings of a hundred }^ears had suddenly found 
fulfillment. The leading strings of centuries of thought con- 
verged on the tin-foil covered cylinder, which echoed back through 
Time, triumphantly to Cros, mockingly to Fenby and to Scott, 
kindly to Duhamel, Creed and Unger, pityingly to Faber, Vau- 
canson and Roger Bacon, respectfully to de Bergerac and the pro- 
phets, and gramercy to Amenophis III, the Memnon maker. 

It is wonderful indeed, to contemplate the events of the cen- 
tury immediately preceding the birthday of the Phonograph. 
They indicate the strange trend of human invention ; how it 
pointed in a given direction during a given time ; how it needed 
but the presence of the great inventor to bring forth the solid truth, 
even as from an over-saturated solution there suddenly appears 
the shining crystal when the exact condition has finally arrived. 



CHAPTER IV.— The Story of the Invention. 



THE story of the invention is best told in Mr. Edison's own 
words. In an article on ' ' The Perfected Phonograph ' ' 
which he wrote for the North American Review in 1888, 
Mr. Edison calls attention to the well known effects of certain 
musical notes and chords upon sand, when loosely sprinkled on a 
sounding board; in response to the sound waves, the sand sifts 
itself into various geometric curves, differing according to pitch 
and intensity. He speaks also of the fine line of sand that is left 
high up on an ocean beach, as each breaker spends its force in its 
uttermost ripple, and then recedes. He draws the following 
parallel : 

11 Yet, well known though these phenomena are, they appar- 
ently never suggested until within a few years, that the sound waves 
set going by a human voice, might be so directed as to trace an im- 
pression upon some solid substance, with a nicety equal to that of 
the tide in recording its flow upon the sand beach. ***** 

1 ' My own discovery that this could be done came to me almost 
accidentally while I was busy with experiments, having a dif- 
ferent object in view. I was engaged upon a machine intended 
to repeat Morse characters, which were recorded on paper by 
indentations that transferred their message to another circuit 
automatically, when passed under a tracing point connected with 
a circuit closing apparatus. 



24 HANDBOOK OF THE PHONOGRAPH 

1 ' In manipulating this paper, I found that when the indented 
paper was turned with great swiftness, it gave off a humming 
noise from the indentations, a musical rythmic sound resembling 
that of human talk heard indistinctly. 

' * This led me to try fitting a diaphragm to the machine. I 
saw at once that the problem of registering human speech so that 
it could be repeated by mechanical means as often as might be 
desired, was solved." — T. A. Edison. 



CHAPTER V.— The First Phonograph. 

(From The N. Y. Sun of March ist, 1899.) 



THE man who made the first phonograph was buried at 
Schenectady on February 25, 1899. He was one of the 
little band of men who worked with Thomas A. Edison at 
Menlo Park, and through whose skill and faithful assistance were 
developed many of the inventions which gave to Edison the name 
of " The Wizard." It was in those days that Edison used to 
become absorbed in the development of an idea, work at it without 
rest or sleep for two or three days and nights and keep all those 
about him busy at the same time. He would call in an organ 
grinder from the streets to keep his men awake, or resort to some 
other such device, and when the strain was finally over, charter a 
boat and take all hands down the bay on a fishing excursion. 
Among the most tireless of the men about ' ' The Wizard ' ' at 
that time was John Kruesi, the man who made the first phono- 
graph.* The idea came to Mr. Edison as an inspiration a few 
days before, while he was experimenting with a telephone disc. 
The disc was not enclosed and there was a sharp, pointed pin on 
the back of it. 

As Mr. Edison spoke against the face of the disc its vibrations 
drove the pin into his finger. 



* For many years Mr. Kruesi had been identified -with the General Electric Co. at 
their Schenectady Works, filling a position of great importance.— [Ed.] 



26 HANDBOOK OF THE PHONOGRAPH 

' ' If the disc has power enough to prick my finger, ' ' thought 
' The Wizard ' , "it has power enough to make a record which 
can be reproduced. ' ' 

A few days later he called Kruesi to him, and putting into 
his hands a rough sketch of the Phonograph, explained what the 
thing was to do, and told him to make it. It was a roll 
machine, the roll covered with tin foil to take the record. Kruesi 
made the machine and brought it to Mr. Edison. Edison set it 
going and spoke into it : 

11 Mary had a little lamb, 
It's fleece was white as snow ; 
And everywhere that Mary went, 
The lamb was sure to go. ' ' 

Then he started it to repeat his words, expecting at the 
best but a hoarse murmur in answer. He was almost awed when 
he heard his words actually repeated in clear tones by the little 
machine. That machine is now in the Patent Museum at South 
Kensington, London, England. 




EDISON WORKING ON THE PHONOGRAPH. 



CHAPTER VI. 
Pictorial and Commercial History. 

IN the preceding chapters there have been traced, first the 
growth of the Idea; next, the events leading up to the Inven- 
tion, and finally, the Invention. The growth of the Invention 
itself, from the crude tin foil covered roll and rough apparatus of 




THE PHONOGRAPH OF 1877— showing recording stylus indenting the 
tin foil on a 5 inch cylinder. 



28 



HANDBOOK OF THE PHONOGRAPH 



1877, to the lead soap record of to-day, (popularly termed the 
"wax" cylinder) and the delicate and positive mechanism which 
distinguishes the modern Phonograph can be told best by repro- 
ducing the early prints. These pictures, though lacking in art, 
tell the story of progress so plainly that, few explanatory words 
are needful. 

Then followed a period of nearly ten years during which the 
Phonograph remained quiescent, the reason for which is given in 
in the following quotation taken from Mr. Edison's article in 
the North American Review, June 1888: <l Ten years ago I 




THE PHONOGRAPH OF 1887— showing the use of the wax cylinder, elec- 
tric motor works and recording and reproducing diaphragms arranged on a 
swivel, for instant interchange. This is the "Spectacle'' model, so-called 
from the resemblance of the Diaphragms to a pair of eye-glasses. 



PICTORIAL AND COMMERCIAL HISTORY 29 

contributed to the North American Review a paper on ' The 
Phonograph and its Future, ' in which I sketched the solution of 
certain problems accomplished by my invention and predicted 
some of the uses to which it would be put. Other weighty mat- 
ters engaged much of my time and attention after that article was 
published ; but the future of which I then spoke has now arrived, 
and the predictions which I made at that time are now verified." 



The improved " Spectacle Model " dating 1889. 

About this time The North American Phonograph Co. started 
to manufacture and market the Phonograph, offering it solely as 
an office convenience; that is to say, as an amanuensis, in place 
of a stenographer. On account of its high price, no thought was 
taken of the enormous latent possibilities of the Phonograph as a 
fun maker or home entertainer. It may be of interest to quote 
from a catalogue of 1893, an( i a ^ so to reproduce the illustrations 
of the different types of machines sold, together with prices. 



30 HANDBOOK OF THE PHONOGRAPH 

THE EDISON PHONOGRAPH. 

As the ideal amanuensis for office use. 

In recommending the use of the Phonograph in 
business offices, The North American Phono- 
graph Company feel that the}' are advising the 
introduction of a machine which will do all that is 
claimed for it, and which will fill a position that was 
as vacant, before the Phonograph was used, as the 
one now filled by the typewriter was years ago. 

THE PHONOGRAPH WILL SAVE YOUR 
TIME AND YOUR MONEY. 

You can talk faster than to a stenographer and 
your typewriter can transcribe more quickly than 
from stenographic notes, not being obliged to look at 
the notes and find the place. 

Your typewriter can begin to transcribe the first 
of 3^our correspondence at the same time that you are 
dictating the remainder, and the work is completed 
sooner than if a stenographer had to wait until the 
dictation was finished before beginning to transcribe. 

THE PHONOGRAPH ADDS TO YOUR 
CONVENIENCE. 

You can dictate while your typewriter is absent or 
doing other work. With more than one Phonograph 
in the office different men can dictate their letters at 
the same time, and one typewriter can transcribe 
for all. 

MOTOR BATTERIES, ETC. 

The Phonograph is built in four different classes, 
according to whether it is to be run by an Electric 
Motor and Battery ; an Electric Motor attached to 
an Electric Light Current ; a Water Motor ; or a 
Foot Treadle. 



PICTORIAL AND COMMERCIAL HISTORY 



31 




This is an Electric Motor 
Phonograph, an improve- 
ment over the ' ' Spectacle 
Model " . It is very nearly 
the same as the " M " 
Electric Phonograph of to-day, except for a few unimportant details. 
Equipped with a battery, tubes, blanks and sundries, it sold for $190. The 
same Phonograph wound for the electric light circuit sold for $170. 




The Water Motor Phonograph sold for $150.00. 



32 



HANDBOOK OF THE PHONOGRAPH 




This Phonograph, equipped with foot power treadle, sold for $140.00. 



PICTORIAL AND COMMERCIAL HISTORY 



33 



In 1895, The National Phonograph Co. took up the sale of 
Phonographs and discarded the Treadle and Water Motor types. 
Under its management the Electric Motor appeared in the follow- 
ing form : 




The Edison " M " Electric Phonograph. 



and a new type was added which was called The Edison Spring 
Motor Phonograph. 

The Phonograph was now growing in popularity as a means 
of amusement for the general public ; and in response to a wide 
demand for a cheaper instrument, another style was added, also 
of the clock work type, called the Edison Home Phonograph. 



34 



HANDBOOK OF THE PHONOGRAPH 



J IIM — "J 




The Edison Spring Motor Phonograph. 




The Edison Home Phonograph. 



PICTORIAL AND COMMERCIAL HISTORY 



35 



In 1897, to keep pace with the growing popular demand, a 
still cheaper Phonograph, called " The Standard " was put on the 
market. 




The Edison Standard Phonograph. 



36 



HANDBOOK OF THK PHONOGRAPH 



Early in 1899, a still more moderate priced machine, known 
as "The Gem," was placed before the public. This machine 




The Edison Gem Phonograph. 



came as a revelation to the Phonograph world ; as an example 
of what could be accomplished in small compass and for a 
small price. 



PICTORIAL AND COMMERCIAL HISTORY 



37 



Following the Gem, came the announcement that Mr. Edison 
had perfected the Phonograph, and had produced the " Concert," 
a machine playing a record 5 inches in diameter (a return to the 




The Edison Concert Phonograph. 



size of the original tin foil covered record). So perfect is its 
work, that seeing it dispels an illusion. 

After hearing it there can be but one conclusion — Thomas 
A. Edison is the Alpha and Omega of the Phonograph. 



PART SECOND 

HOW TO USE IT 



INTRODUCTION. 



NOT very many years ago a Phonograph cost five hundred 
dollars. To-day the best Phonograph costs only one 
hundred dollars ; and smaller instruments can be bought 
all the way down to seven dollars and fifty cents. The reasons 
for this are two-fold : improved method of manufacture and 
tremendously increased output. 

Phonographs differ from all other talking machines in that 
they are offered to the public complete in every respect. With 
the exception of the Gem, they all make records, reproduce 
records and shave off records for use a second time. 

Phonographs are made with the accuracy of a scientific 
instrument. They run smooth, they run true and they run in 
perfect time. They are made honestly. They are made to reflect 
credit and to uphold the fame of the name that is behind them. Mr. 
Edison's signature is on every Phonograph ; without it no other is 
genuine. 

Any one who knows about talking machines can tell the 
difference at a glance, or by hearing the results. Any one who 
does not know, can also tell. Look for the signature. 

No amusement of modern times equals the Phonograph. 
Every pleasure that sound can give is condensed on its cylin- 
ders, and the priviledge of ' ' boxing ' ' your own and your 
friends' voices for future use is a never failing source of amusement. 



42 HANDBOOK OF THE PHONOGRAPH 

Its variety is inexhaustible, for as long as human genius keeps 
on producing new music, new recitations, new instruments, the 
Phonograph goes on making permanent the otherwise fleeting 
pleasure. 

The charm of the enjoyment depends on the clearness and 
accuracy of the reproduction and for this reason the Phonograph 
gives greater satisfaction than any other device sold for this 
purpose. 

TWO TYPES AND EIGHT STYLES. 

Six styles are made that use the same records, the small 
2% inch size. The other two styles use the large 5 inch records. 

SPRING MOTOR TYPES. 

The Edison Concert (plays the 5 inch Edison Concert 
Records) . 

The Edison Spring Motor. 
The Edison Home. 
The Edison Standard. 
The Edison Gem. 

ELECTRIC TYPES. 

The Edison "M" Electric. 
The Edison "E" Electric. 

The Edison " M " Concert (plays the 5 inch Edison Concert 
Records). 

With the exception of the Gem they all do the same things, 
but in different ways. They will record and reproduce human 
speech and other forms of articulate sound. They will record 
music and reproduce it afterwards. They will repeat what has 
been sung, spoken or played by others to the machine. They 
will shave off or prepare cylinders that once have had speeches 
or songs recorded on them, so that every cylinder can be used 
again and again for new records, if desired. 



INTRODUCTION 43 

The Phonograph is the best of such instruments, because it 
does these things simply and perfectly. It will sing for you, it 
will play for you, it will repeat to you the music of famous bands 
and orchestras, the sweet voices of famous singers, and the 
precious voices of family and friends, even though they be dead. 
It is a remembrance reduced to the visible presence. It pre- 
serves what otherwise would have perished, and it entertains and 
amuses people of all ages and stations beyond any device, 
mechanical or otherwise, ever invented. 

The world owes this wonderful invention, and its present 
advanced developement, to the great genius of THOMAS A. 
EDISON. 

Description op Types and Styles. 

The two types of Phonographs are the Spring Motor and the 
Electric. The following briefly describes the eight different 
styles ■• 

The Edison Concert represents the perfection of 
CONCERT the Phonograph. The motor is actuated by power- 
ful triple springs ; will play from six to eight -of the 
large 5 inch records with one winding. For volume of sound, 
true tone quality and distinct articulation this Phonograph stands 
alone. 

The Edison Spring Motor is a high grade instru- 

?_ ment. The motive power of this machine is a 

AlOTOR • • 

powerful spring motor movement contained m the 

machine itself, and wound with a crank. It plays fourteen 

records with a single winding. 

The Edison Home is also a spring motor machine 
HOME made for popular home use. It works admirably, 

having the same speaking and musical qualities, and 
using the same devices to accomplish those results. The spring 



44 HANDBOOK OF THE PHONOGRAPH 

motor is well made and differs from the larger motors only in not 
running so long with a single winding. 

The Edison Standard is a standard machine in 
STANDARD every respect. It is built on the same general lines 

as the Home, with the exception of a different 
arrangement of the feed. The motor runs from two to three 
records with one winding. It is durable, handsome and attract- 
ive in appearance. 

The Edison Gem is the cheapest genuine Phono- 
G;EM graph on the market. It is compact, neat and sub- 

stantial. Reproduces only, but with wonderful 
clearness. Plays two records with one winding. 

^ The Edison "M" Electric Phonograph is actuated 

ELECTRIC by an e i ectr j c mo tor, which forms part of the 
^ . machine t T/he power for running it is supplied by 

a battery, which it not a part of the machine, but must be pur- 
chased as an extra. The machine is perfect in all details, and 
accurate and brilliant in reproduction. 

The Edison "E" Electric Phonograph (for 
CLASS B. electric light current), is furnished with an electric 

motor wound for the no to 120 volt direct current. 
The outfit is similar to the "M" Electric in every respect except 
the motor. 

The Edison "M" Concert Phonograph differs from 
^ * the Spring Motor Concert in the motive power.' 

Power is supplied from a battery, as in the "M" 
electric. Combines the perfection of the Concert with the con- 
venience of the "M" electric. 

In the descriptions of the Phonographs which appear in the 
following pages, the Gem stands first in order. Its phenomenal 
sales record in the first few months since it was brought out 



INTRODUCTION 45 

proves its popularity and hence it leads in the prominence given 
to the written instructions as to its use. 

The Standard and the Home come next; taking these 
positions from a comparison of the number in actual use. 

The Spring Motor follows, although it was the first machine 
of its type; with its clockwork mechanism. 

Then the Concert; which is closely allied in general form to 
the Spring Motor, differing only in the Phonograph body, and 
in such changes that are needful to operate the 5 inch instead of the 
2%. inch cylinder. 

Finally the Electric Phonographs are treated ; followed by 
chapters of general information as to the use and care of the va- 
rious attachments and accessories, of which the Phonograph has a 
large and ever increasing number. 



CHAPTER I. 
The Edison Gem Phonograph. 




THE Edison Gem is the cheapest genuine Phonograph on the 
market. It is the best cheap talking machine. Its con- 
struction is solid and substantial. Its works are enclosed 
in enamelled iron base, tastefully decorated, and are well made. 
Good gears, stiff spring, will run two records with one winding. 
All studs and bearings are made of best steel. Its mechanism is 
the acme of simplicity. Weighs 7^ pounds. Size of base 7^x 
5% inches. It is equipped with a 10-inch japanned horn. Re- 
produces only, but reproduces with wonderful loudness and clear- 
ness. Plays the 2% inch record. 



THE EDISON GEM PHONOGRAPH 



47 




THE EDISON GEM PHONOGRAPH. 

INDEX OF PARTS. 



1. Mandrel (to hold Wax Cylinder), 

assembled with Cylinder Shaft. 

2. Cylinder Pulley (assembled with 

gear). 

3. Speaker Arm. 

4. Back Rod. 

5. Drive Belt. 

6. Feed Nut Spring Screw. 

7. Speaker Arm Lift Lever. 

8. " Clamp Screws. 

9. Tube Plate, under which is the 

Speaker. 

10. Speed Adjusting Screw. 

11. Starting Knob. 



Feed Screw Gear. 
Body. 

Straight Edge. 
Winding Key. 
Intermediate Gear. 
Intermediate Gear Stud. 



Nut. 



Cylinder Shaft Center Set Screw. 
Feed Screw Center. 

21. Frame Holding Screws. 

22. Back Rod Nut 

23. Cylinder Rod Nut. 

24. Drip Pan Screw. 

25. Gov. Brake Angle-piece Screw. 



48 handbook of the phonograph 

Instructions for Operating the Gem Phonograph. 

Before winding or starting, see that all working parts are 
free and clear from dirt and packing, particularly the gearwheels. 
See that all set screws are tight, as sometimes these screws work 
loose from the jars or knocks received in transportation. To get 
at the interior mechanism, remove the drip pan by taking out the 
round head screws (24) in each end of the iron base (13). 

In moving the speaker arm (3) back and forth, always use 
the lift lever (7), so that the arm slides on the straight edge (14). 
Do not lift the entire arm, as the pin on back part of speaker arm 
will strike the feed screw and damage the thread. 

The Gem Phonograph, like every other good mechanism, 
should be kept clean. This is absolutely essential as to the gearing. 
Any foreign substance in the gear teeth or bearings, (such as grit 
or packing or gummy oil), affects the regularity of the movement, 
and consequently the speed regulation. If the machine does not 
regulate perfectly, it shows in the varying pitch of the record 
when played. 

Apply oil sparingly but thoroughly to the following parts: 
Back rod (4). Feed screw (not shown incut). Feed screw 
centers (20). A ve?y little on the straight edge (14) rubbed on 
with the finger. All motor shafts at their bearings. All gears, 
especially the fine-toothed gear which engages the governor pin- 
ion. Arbor on which main spring turns. Idler pulley, occasion- 
ally, where tension spring holds it. Governor disc, occasionally. 
No oil should be permitted to get on the belt (5), and oil must 
not be smeared on the machine, as it will catch dust and make 
trouble. When the oil on the gear teeth gets black and dirty, 
wash it off with benzine before putting on new oil, which apply 
sparingly. Use best Phonograph oil, to avoid gumming. Above 
all, keep the machine clean. No mechanism will work perfectly 
unless free from grit. 

As a precautionary measure, it is well to look to the belt (5) 



THE EDISON GEM PHONOGRAPH 49 

and speaker arm (3) before starting the machine. All machines 
are completely adjusted before shipment from the factory. They 
will sometimes, though not often, become disarranged in transit. 
The tension of the belt should be moderate. The mandrel ( 1 ) 
should work freely. A simple test is to throw off the belt (5) and 
spin it gently with the fingers. The speaker arm (3) should also 
slide freely on the back rod (4). 

_ . ,. To adjust the wax cylinder, raise the lift lever (7) 

To Adjust and glide it tQ the center of the slight e d ge ( I4 ) ? 

J tn er as shown in cut. Don't uft entire arm. Slip 
the wax cylinder, beveled end foremost, upon the tapering 
mandrel, handling it very carefully. Push it on the mandrel 
until it holds firmly ; not too tight, or it may crack the record, 
nor yet too loose. If the latter happens, the cylinder revolves on 
the mandrel, making the record repeat. 

The wax cylinder, which is somewhat brittle, should be 
handled gently at first, until the operator becomes practised. See 
Chapter ij, Part II. , Blanks and Records. Do not leave the 
cylinder upon the mandrel ( 1 ) of the Phonograph for any length 
of time when the machine is not in use. 

. To start the machine, push the starting knob (11). 

Todtart Tq sto ^ pull Qut this knob> Tq regulate the speed, 

a °^ turn thumb-screw (10). To increase speed, screw 

thumb-screw in, and to decrease it, unscrew same. Observe this 
carefully when reproducing music, as a different speed from that 
at which the music was recorded will reproduce an entirely dif- 
ferent pitch. The standard speed at which musical records are 
taken is about 125 revolutions per minute. 

Raise lift lever (7) to its highest point. Slip the 
10 epro- wax C yh n der, beveled end foremost, upon the taper- 
ing mandrel (1), and press it firmly, but not too 
forcibly, into place. Place the horn on the speaker plate tube, 



50 HANDBOOK OF THK PHONOGRAPH 

slide speaker arm (3) to point where record appears to begin, 
and drop lift lever gently (7), after having first pushed in starting 
the knob (11). 

Although the reproducer ball usually adjusts itself to the 
track or grove made by the stylus, it sometimes occurs that clear 
reproduction is not at first obtained. To obviate this, jar the 
machine gently ; which usually throws the reproducer ball into 
track, or raise lift lever and drop it again gently until the repro- 
duction sounds clearer. 



CHAPTER II. 
The Edison Standard Phonograph. 

THE Standard is the ideal talking machine. It is made 
with the same careful precision that characterizes all 
Phonographs, and is complete in every respect. Made 
of iron, steel and brass, nickeled gears and mandrel. Black 
enamel and gold finish. Encased in a handsome oak dust-proof 
carrying case. Actuated by a spring motor that runs two to three 
records with a single winding. Crank handle does not revolve 
while the machine is running. Can be wound while in motion 
without interfering with reproduction. 

L,ight, durable and efficient. Absolutely noiseless. Regula- 
tion perfect. Can be operated by a child, so simple is its mechan- 
ism. Weighs 17 lbs. Size, 9 in. x 12 in. x 9^2 inches high. 
Will record, will reproduce, will shave off. Fitted with instanta- 
neous speaker clamps for instant interchange of speakers. 

Tvso Speakers are included, free of charge with every Edison 
Standard Phonograph: The Edison Automatic Reproducer and 
the Edison Recorder ; also a sapphire shaving knife, a two-way 
hearing tube a 14-inch polished brass horn, a camel's hair chip 
brush, an oil can, a winding crank and an oak carrying case. 

These parts are essential to a perfectly equipped and complete 
talking machine outfit. The Standard is shipped only complete 
as above. The only change made is to substitute a speaking tube 
for the 14-inch polished brass horn, if so desired. 



52 



HANDBOOK OF THE PHONOGRAPH 




The Edison Standard Phonograph. 



THE EDISON STANDARD PHONOGRAPH 



53 




THE EDISON STANDARD PHONOGRAPH 



INDEX OP PARTS. 



1. Brass Mandrel to hold wax cylin- 25. 

der (assembled with Cylinder 26 

Shaft). 2y * 

2. Cylinder Shaft, (assembled with o' 

Brass Mandrel). 

3. Peed Spring. 2 9- 

4. Feed Nut. 3°- 

5. Feed Nut Screw. 3 1 - 

6. Back Rod. 32. 

7. Drive Belt. 33. 

8. Feed Nut Spring Screw. 43. 

9. Speaker Arm. 35. 

10. Swinging-arm Center. 36. 

11. Swinging-arm Center Set Screw. 37. 

12. Swinging Arm. 38. 

13. Locking Spring. 39. 

14. Speaker Arm Lift Lever. 40. 

15. Speaker Adjusting Screw. 41. 

16. Speaker Lever. 42. 

17. Speaker Clamp Screw. 43. 

18. Speaker. 44. 

19. Plate Tube. 45. 

20. Knife Bar Adjusting Screw. 46. 

21. Governor Adjusting Screw. 47. 

22. Starting Lever. 48. 

23. Hearing Tube. 49. 

24. Speaking Tube. 50. 



Chip Brush 

Wax Cylinder, or Blank. 

Swing-arm Spring Washer. 

Swing-arm Spring Washer Screw 

Chip Chute Thumb Screw. 

Cylinder Shaft Pulley. 

Feed Screw Cover. 

Feed Screw Cover Screw. 

Top Plate. 

Speaker Arm Lift Screw. 

Straight Edge Roller. 

Straight Edge Roller Screw. 

Winding Crank. 

Speaker Clamps. 

Cylinder Shaft Gear. 

Intermediate Gear. 

Feed Screw Gear. 

Feed Screw Center Set Screw. 

Intermediate Gear Stud Set Screw. 

Cylinder Shaft Center Set Screw. 

Cylinder Shaft Center. 

Intermediate Gear Stud. 

Feed Screw Center. 

Frame Holding Screw. 

Locking Spring Knob. 

Back Rod Set Screw. 



54 HANDBOOK OF THE PHONOGRAPH 

The Phonograph, like every other good mechanism, should 
be cleaned and free from dust. Instructions as to oiling will be 
found later in these directions. 

See that the knife adjusting screw (20) is screwed entirely 
back, or until the chip box rests against the casting of the speaker 
arm, as it always should do except when shaving. This screw 
controls the shaving knife, and draws it away or forces its cutting 
edge against the wax cylinder. 

As a precautionary measure, it is well to look to the belt, 
the shaft (2), and the speaker arm, before starting the machine, 
All machines are completely adjusted before shipment from the 
factory. They will sometimes, though not often, become disar- 
ranged in transit. The tension of the belt should be moderate. 

Before winding or starting the machine, see that all working 
parts are free, particularly that there is no dirt or packing in the 
gear wheels, and that all set screws are tight. Sometimes these 
screws work loose from the shock of travel. 

The cylinder shaft (2) turns on centers (10 and 45), between 
which it should run easily. If centers are too tight they will bind 
the shaft, while if too loose, the end shake will destroy the 
accuracy of the reproduction. There should be no end-shake here. 
A simple test is to throw off the belt with the hand, and see if the 
shaft will spin freely. The cylinder shaft centers are regulated 
by set screws ( 1 1 and 24) , as shown in the drawing. The speaker 
arm or carriage of the machine should work free on the back rod. 

All bearings should be oiled, as mentioned before, and to 
obtain the best results from the motor the gears must be kept 
clean, particularly the fine-toothed gear which engages the gov- 
ernor pinion. The governor disc (the flat metal plate against 
which the horse shoe rocker works) must be oiled occasionally. 
If necessary to adjust the governor, see to it that there is a slight 
play between centers. If too tight there, regulation is impaired 
and efficiency is diminished. 

Under no circumstances should the governor disc, described 
above, touch the adjacent gear. 



THE EDISON STANDARD PHONOGRAPH 



55 




NOTE:— For numbers not shown on this cut refer to cut of complete machine on 
Page 53. 



To Put the Wan Open swing arm (12), raise lift lever (14), 
Cylinder on or to and slip the wax cylinder (26), beveled end 
Remove It foremost, upon tapering brass mandrel (1). 



Handling the 
Cylinder 



The wax cylinder, which is somewhat brittle, 
should be handled gently at first, until the 
operator becomes practised. See Chapter ij, 

Part II , Blanks and Records. 

Do not leave the cylinder upon the brass mandrel ( 1 ) of the 

Phonograph for any length of time when the machine is not in use. 




To Start or To start or stop, throw switch lever (22); to the 
Stop right to stop and to the left to start. 



56 HANDBOOK OF THE PHONOGRAPH 

The speed of the machine in revolutions of the 
To Regulate main glia f t per m i nute j s regulated by the speed 
the speed adjusting screw (21). To increase speed screw 
the nut down, and to decrease it unscrew this nut. Observe this 
carefully when reproducing music, as a different speed from that 
at which the music was recorded will produce an entirely differ- 
ent pitch. The standard speed at which musical records are 
taken is about 125 revolutions per minute ; talking records, about 
80 per minute. 




NOTE: — For numbers not shown on this cut, refer to cut of complete machine on 
page 53. 

Raise lift lever (14) to its highest point. Push 
P speaker lever (16) to its highest point, against ad- 

justing screw (15). Open swing arm (12) wide. 
Slip the wax cylinder (26), beveled end foremost, upon the 
tapering brass mandrel (1), and press it firmly, but not forcibly, 
into place. Close swing arm. Now place hearing tube (23), or 
horn, on the speaker plate tube (19). Slide speaker arm to point 
where record appears to begin, and drop lift lever (14), after 
having first thrown lever (22) to the left. 

With the Automatic Speaker the following adjustment is 
unnecessary, as the reproducer ball adjusts itself to the track or 
groove made by the stylus. With the Standard Speaker (a com- 
bination speaker equipped with both recording and reproducing 



THE EDISON STANDARD PHONOGRAPH 57 

sapphires), it sometimes occurs that clear reproduction is not at 
first obtained. To obviate this, unscrew the adjusting screw (15) 
until its point disappears in the lug, and while listening press the 
speaker lever (16) upward with the thumb of the right hand, and 
with the first and second fingers of the same hand turn the adjust- 
ing screw (15) slowly down until you can hear the record distinct- 
ly. This adjustment will bring the reproducer ball into the groove 
of the record. 




The machine is at rest. Open speaker clamps (38) 
5~0 Record and insert recorder with its speaker lever (16) 
pressed up against lug. Press up lift lever (14). 
Open swing arm (12) wide. 

Slip the wax cylinder (26), beveled end foremost, upon the 
tapering brass mandrel ( 1 ) , and press it firmly, but not too forci- 
bly into place. Close the swing arm. 

Raise the speaker arm from the straight edge upon which it 
rests in front, and slide to the left until directly over the beveled 
end of the cylinder, or the point at which you wish the record to 
commence. Again lower it to straight edge. Everything is now 
ready to record. 

Start the machine by pushing the starting lever (22) to the 
left. The machine is now in motion. Place speaking tube or 
horn upon the plate tube (19) of the speaker, lower lift lever (14) 



58 



HANDBOOK OF THE PHONOGRAPH 



as far as possible and commence recording. Further instructions 
are given in Chapter 75, Part II. , Dictating ; and Chapter 3 , 
Part III, Record Making. 




Every Phonograph except the Gem is equipped with 
J? a l & a simple device for shaving off or smoothing blank 
* cylinders, which preparation is necessary before a 

blank can be used for recording. Here are the instructions for 
operating the turning rest. Machine is at rest. Wax cylinder 
firmly set upon mandrel. Hearing tube or horn removed. Fasten 
back the speaker weight by passing rubber band around lower 
end of weight and over the speaker arm, or what is better still, 
remove speaker (18). 

Lower the speaker arm about over the center of the cylinder 
by dropping lift lever (14). Hold the end of the arm down firmly 
with the thumb and forefinger of the left hand, while with the 
same fingers of the right, screw down the button (20) which 
controls the knife bar. This will bring the sapphire shaving knife 
to the surface of the wax. As the depth of the cut to be taken is 
very slight indeed, the knife must be set very gently into the wax, 
as shallowly as possible. The machine is still at rest, with lift 
lever (14) down. Now raise speaker arm, slide it back to the ex- 
treme left, and start the Phonograph. When the shaving of 
a cylinder is completed, see that the knife bar is screwed back 
away from the cylinder, or it will cut the next record that is put 



THE EDISON STANDARD PHONOGRAPH 59 

on the machine. This is managed by manipulating the button 

(20). Further instructions are given in Chapter 14., Part II. , 
Shaving. 




. To stop recording, reproducing or shaving while 

P the machine is running, raise the lift lever (14). 

Apply oil sparingly but thoroughly to the following 
Oiling parts : back-rod, feed screw, cylinder shaft centers 

(10 and 45) feed screw center (47), roller on the 
straight edge, all motor shafts at their bearings, all gears, arbor 
on which main spring turns ; idler pulley, occasionally where 
tension spring holds it ; governor disc, occasionally, winding shaft, 
if necessary. No oil should be permitted to get on the belt, and 
oil must not be smeared on the machine, as it will catch dust 
and make trouble. When the oil on the gear teeth gets black and 
dirty, wash it off with benzine before putting on new oil, which 
apply sparingly. Use best Phonograph oil to avoid gumming. 
Above all, keep the machine clean. No mechanism will work 
perfectly unless free from grit. 






j^a?7hr :::. 



The Edison Home Phonograph, 



ACQ] ring and musical machine that does the 

si git-priced instruments and superior to 

al". ;:' :'•.: cke.17 :u.ic:::::es '.:: music I: is simple in COD- 
bo operate and c o s tl ess bo nawntain 
, ■ - six records with ■ single winding 

1: is made ol steel md brass throughou t X; soft metal or 

1 in black enamel and gold. Incased in oak 

Eta ill x 12 in high. It weighs :> lbs. Will 

": Fitted with instantaneous 

>vr.-k:: ; ? ?:.-.::: ::.::: .:' speakers. 

'.: : the Edison /Luftoanatk Reproducer and the 
Recordes also ■ ^infliire shaving knife an oak body box, 
oak : a brass horn, a ti ing tube, 

ink an 93 can and a came) s hair chip brash 
ssf 



THE EDISON HOME PHONOGRAPH 



6l 




The Edison Home Phonograph. 



62 



HANDBOOK OF THE PHONOGRAPH 




THE EDISON HOME PHONOGRAPH 
INDEX OF PARTS. 



Brass Mandrel to hold wax cylin- 
der. (Assembled with Main 
Shaft). 

Main Shaft. (Assembled with 
Brass Mandrel). 

Feed Spring. 

Feed Nut. 

Feed Nut Screws. 

Back Rod. 

Drive Belt. 

Main Shaft Center. 

Main Shaft Center Set Screw. 

Swing-arm Center. 

Swing-arm Center Set Screw. 

Swing-arm Center Adjusting 
Screw. 

Swing Arm. 

Lock Bolt. 

Lift Lever. 

Speaker Adjusting Screw. 

Speaker Adjusting Screw Lug. 

Speaker Lever. 



19. Speaker Clamps. 

20. Speaker. 
2i. Tube Plate. 

22. Knife Adjusting Screw. 

23. Speed Adjusting Screw. 

24. Start-and-Stop Switch. 

25. Hearing Tube. 

26. Speaking Tube. 

27. Chip Brush 

28. Wax Cylinder, or Blank. 

29. Swing-arm Spring Washer. 

30. Spring-washer Set Screw. 

31. Body-holding Screw Washers, 

(metal and rubber). 

32. Main Shaft Pulley. 

33. Body-holding Screw. 

34. Top Plate. 

35. Home Phonograph Body. 

36. Back Rod Set Screw. 

37. Main Shaft Pulley Set Screws. 

38. Body Cushions. 



the edison home phonograph 63 

Instructions for Operating the Edison Home Phonograph. 

Before winding or starting the machine, see that all working 
parts are free, particularly that there is no dirt or packing in the 
gear wheels, and that all set-screws are tight. Sometimes these 
screws work loose from the shock of travel. 

The Phonograph, like every other good mechanism, should 
be clean and free from dust. Instructions as to oiling will be 
found later in these directions. 

See that knife adjusting screw (22) is screwed entirely back, 
or until the stop pin rests against the casting of the speaker arm, 
as it always should do except when shaving. This screw controls 
the shaving knife, and draws it away or forces its cutting edge 
against the wax cylinder. 

As a precautionary measure, it is well to look to the belt (7), 
the shaft (2), and the speaker arm, before starting the machine. 
All machines are completely adjusted before shipment from the 
factory. They will sometimes, though not often, become disar- 
ranged in transit. The tension of the belt (7) should be moderate, 
and the belt- tightening idler pulley (not shown in engraving but 
easily found on the machine) should be in proper place against the 
belt. The main shaft (2) turns on centers (8 and 10), between 
which it should run easily. If centers are too tight they will bind 
the shaft, while if too loose, the end-shake will destroy the 
accuracy of the reproduction. There should be no end-shake 
here. The shaft adjustment is regulated by the adjusting screw 
(12) on the swing arm center. A simple test is to throw off the 
belt with the hand, and see if the shaft will spin freely without 
noise. The main shaft pulley (32) should of course be tight on 
the shaft. Its set screw (37) regulates this. The main shaft 
centers are regulated by set screws (9 and 11), as shown in draw- 
ing. Care should be taken that the large end of the mandrel ( 1 ) 
does not touch the center lug of the body casting. The thickness 



64 HANDBOOK OF THK PHONOGRAPH 

of a piece of paper between the lug and mandrel is sufficient clear- 
ance. The speaker arm or carriage of the machine should work 
free on the back rod (6). 

All bearings should be oiled, as mentioned before, and to 
obtain the best results from the motor the gears must be kept clean, 
particularly the fine-toothed gear which engages the governor 
pinion. The governor disc (the flat metal plate against which the 
horse shoe rocker works) must be oiled occasionally. If necessary 
to adjust the governor, see to it that there is a slight play between 
centers. If too tight there, regulation is impaired and efficiency 
is diminished. 

Under no circumstances should the governor disc, described 
above, touch the adjacent gear. 

. The first operation will undoubtedly be reproducing. 

To Kepro- Raige Hft leyer ^^ to itg highest point< Push 

speaker lever (18) to its highest point, against 
speaker adjusting screw lug (17). Throw down lock bolt (14) 
and open swing arm (13) wide. Slip the wax cylinder (28), 
beveled end foremost, upon the tapering brass mandrel (1), and 
press it firmly, but not too forcibly, into place. Close swing arm 
and re-lock it. Now place hearing tube (25), or horn, on the 
speaker tube plate (21), slide speaker arm to point where record 
appears to begin, and drop lift lever (15), after having first thrown 
start and stop switch (24) to the left. 

With the Automatic Reproducer the following ajustment is 
unnecessary, as the reproducer ball adjusts itself to the track or 
groove made by the stylus. With the Standard Speaker (a com- 
bination speaker equipped with both recording and reproducing 
sapphires), it sometimes occurs that clear reproduction is not at 
first obtained. To obviate this, unscrew the adjusting screw (16) 
until its point disappears in the lug (17), and while listening press 
the speaker lever (18) upward with the thumb of the right hand, 
and with the first and second finders of the same hand turn the 



THE EDISON HOME PHONOGRAPH 65 

adjusting screw (16) slowly down until you can hear the record 
distinctly. This adjustment will bring the reproducer ball into 
the groove of the record. 

. The speed of the machine in revolutions of the main 

% . shaft per minute is regulated by the speed adjusting 

J P screw (23). To increase speed screw the nut down, 

and to decrease it unscrew this nut. Observe this carefully when 

reproducing music, as a different speed from that at which the 

music was recorded will reproduce an entirely different pitch. 

The standard speed at which musical records are taken is about 

125 revolutions per minute ; talking records, about 80 per minute. 

A very good way for the beginner to determine the number 

of revolutions per minute, is to hold his finger lightly against the 

main shaft pulley set screw (37), and count the revolutions by 

his watch, for ten or more seconds. 

The machine is at rest. Open speaker clamps (19) 

To Record and insert recorder with its speaker lever (18) 

pressed up against lug (17). Press up lift lever 

(15). Throw down lock bolt (14), and open swing arm (13) 

wide. 

Slip the wax cylinder (28), beveled end foremost, upon the 
tapering brass mandrel (1), and press it firmly, but not too forci- 
bly into place. Close the swing arm, and re-lock it. 

Raise the speaker arm from the straight edge upon which it 
rests in front, and slide to the left until directly over the beveled 
end of the cylinder, or the point at which you wish the record to 
commence. Again lower it to straight edge. Everything is now 
ready to record. 

Start the machine by pushing the switch (24) to the left. 
The machine is now in motion. Place speaking tube or horn upon 
the tube plate (21) of the speaker, lower lift lever (15) as far as 
possible and commence recording. Further instructions are given 



66 HANDBOOK OF THE PHONOGRAPH 

in Chapter 15, Part II, Dictating ; and Chapter 3, Part HI, 
Record Making. 

The wax cylinder, which is somewhat brittle, should 
nana ing ^ e j^y^Ug^ gently at first, until the operator becomes 
Cylinder practised. See Chapter 13, Part II, Blanks and 

Records. 
Do not leave the cylinder upon the brass mandrel ( 1 ) of the 
Phonograph for any length of time when the machine is not in 
use. 

Every Edison Home Phonograph is equipped with a 
^ & simple device for shaving off or smoothing blank 

-^ cylinders, which preparation is necessary before a 

blank can be used for recording. Here are the instructions for 
operating the turning rest. Machine is at rest. Wax c}dinder 
firmly set upon mandrel. Hearing tube or horn removed. 
Speaker lever (18) set as for reproducing, that is, up against lug 
(17). Fasten back the speaker weight by passing rubber band 
around lower end of the weight and over the speaker arm. 

Lower the speaker arm about over the center of the cylinder, 
by dropping lift lever (15). Hold the end of the arm down firmly 
with the thumb and forefinger of the left hand, while with the 
same fingers of the right, screw down the button (22) which 
controls the knife bar. This will bring the sapphire shaving 
knife to the surface of the wax. As the depth of the cut to be 
taken is very slight indeed, the knife must be set very gently into 
the wax, as shallowly as possible. The machine is still at rest, 
with lift lever (15) down. Now raise speaker arm, slide it back 
to the extreme left, and start the Phonograph. 

When the shaving of a cylinder is completed, see that the 
knife bar is screwed back away from the cylinder, or it will cut 
the next record that is put on the machine. This is managed by 
manipulating the button (22). Further instructions are given in 
Chapter 14., Part II, Shaving. 



THE EDISON HOME PHONOGRAPH 67 

Apply oil sparingly but thoroughly to the following 
Oiling parts: back-rod (6), main shaft feed screw (2), 

main shaft centers (8 and 10), roller on the 
straight edge, all motor shafts at their bearings, all gear teeth of 
motor, arbor on which main spring turns, idler pulley occasion- 
ally, where tension spring holds it, governor disc, occasionally, 
winding shaft, if necessary. 

No oil should be permitted to get on the belt, and oil must not 
be smeared on the machine, as it will catch dust and make trouble. 
When the oil on the gear teeth gets black and dirty, wash it off 
with benzine before putting on new oil, which apply sparingly. 
Use best Phonograph oil, to avoid gumming. Above all, keep the 
machine clean. No mechanism will work perfectly unless free 
from grit. 



CHAPTER IV. 



The Edison Spring Motor Phonograph. 



ACTUATED by powerful triple springs, which drive the 
machine through fourteen records with a single winding. 
No electricity or battery required. Winds noiselessly, 
runs noiselessly, governs perfectly. Simple, but effective con- 
struction, and in every respect a standard machine. Removable 
hardened steel bearings, belt tightener, and other useful devices. 
Includes oak [body and cover as shown. Finished in black and 
gilt enamel, with nickel parts. Fitted with instantaneous speaker 
clamps for instant interchange of speakers. 

Weighs 43 pounds, complete, and is particularly recommended 
for portable service. Size i6>^ in. long, ioj4 in. wide, 14 in. 
high. 

Two speakers are included, free of charge, with every Spring 
Motor Phonograph : the Edison Automatic Reproducer and the 
Edison Recorder ; also a sapphire shaving knife, oak body box, 
oak cover, a 14-inch polished brass horn, two-way hearing tube, 
a winding crank, an oil can and a camel's hair chip brush. 

The Spring Motor Phonograph is shipped only complete as 
above. The only change made is to substitute a speaking tube 
for the 14-inch polished brass horn, if so desired. 



THE EDISON SPRING MOTOR PHONOGRAPH 



6 9 




The Edison Spring Motor Phonograph. 



7 o 



HANDBOOK OF THE PHONOGRAPH 




THE EDISON SPRING MOTOR PHONOGRAPH 
INDEX OF PARTS. 



Brass Mandrel to hold wax cylin- 
der. (Always assembled with 
Main Shaft.) 

Turning Rest, to shave cylinder. 

Feed Spring. 

Back Rod. 

Sapphire Knife Spring Knob. 

Main Shaft. (Always assembled 
with Brass Mandrel.) 

Main Shaft Pulley. 

Drive Belt. 

Start-and-Stop Switch. 

Speed Adjusting Screw. 

Swing Arm. 

Swing-arm Center. 

Straight Edge. 

Speaker Arm. 

Speaker. 

Speaker Lever. 

Speaker Adjusting Screw. 

Speaker Arm Lift Lever. 



19. Main Shaft Center. 

20. Swing-arm Center Adjusting 

Screw. 

21. Back Rod Sleeve. 

22. Top Plate. 

23. Speaker Clamps. 

24. Phonograph Body. 

25. Body-holding Screws. 

26. Shaving Knife Lever. 

27. Winding Key Sleeve. 

28. Feed Nut. 

31. Speaker Adjusting Screw Lug. 

33. Winding Key. 

34. Lock Bolt. 

35. Back Rod Set Screw. 

36. Swing-arm Center Set Screw. 

37. Main Shaft Center Set Screw. 

38. Swing-arm Spring Washer. 

39. Top Plate Lug. 

40. Body-holding Screw Washers. 



THE EDISON SPRING MOTOR PHONOGRAPH 



71 



Instructions for Operating the Edison Spring Motor 

Phonograph. 

Machine at rest. Open speaker clamps (23) and 
To Record insert recorder with the speaker lever (16) pressed 
up against lug (31). 




Press up speaker lever D, place the speaking tube C on the 
Phonograph, and lower the lift lever H. 

Press up lift lever (18). The numbers refer to cut on 
page 70. Throw down the lock bolt (34) and open swing arm 
(11) wide. 




L^i • 



72 HANDBOOK OF THE PHONOGRAPH 

Press down the lock bolt A and open the swing arm B. 

Slip the wax cylinder, beveled end foremost, upon the taper- 
ing brass mandrel (i), and press it firmly, but not too forcibly 
into place. The numbers refer to cut on page 70. 

Close the swing arm and relock it. 

Raise the speaker arm (14), an inch is sufficient, from the 
straight edge (13), upon which it rests in front, and slide to the 
left until directly over the beveled end of the cylinder, or the point 
at which you want the record to commence. Again lower it to 
straight edge and push the speaker lever ( 16) up as far as it will go. 

Start the machine by pushing the switch (9) to the 
lo Start left until it strikes a g a i nst t he pin. 

P Place the speaking tube upon the tube plate, 

lower the lift lever (18) as far as possible, and commence dictation 
to the machine. Should it become necessary to pause during the 
dictation and before the end of the cylinder had been reached, 
raise lift lever (only) until it closes against the speaker arm ; this 
will disengage the feed nut from the fine thread upon the main 
snaft, and at the same time raise the recording stylus from the 
wax. 

A fine white shaving will appear on the surface of the cylinder 
where it has been passed over by the stylus. Remove the speak- 
ing tube ; raise the speaker arm, and, throwing it back as far as 
possible, dust off these shavings by holding the camel's hair chip 
brush against the cylinder, and passing it very slowly from left 
to right. This operation being completed, the record, as it is now 
called, is ready to reproduce. For further instructions see Chapter 
Z5, Part II, Dictating ; also Chapter 3, Part III, Record 
Making. 

Press the speaker lever D up, place the hearing tube 
loRepro- ^ Qn the Pnonograpn) lower tne 1^ lever H> and 

turn the adjusting screw F until the proper sound 
is obtained. 



THE EDISON SPRING MOTOR PHONOGRAPH 



73 




Lift lever (18) up. The numbers refer to cut on page 70. 
Open speaker clamps (23) and insert Automatic Reproducer. 
Push the speaker lever (16) up against the point of the adjusting 
screw (17). Now place the hearing tube on the tube plate, and 
lower the speaker arm opposite the point where the record be- 
gins, by dropping the lift lever (18). With the Automatic 
Reproducer the following adjustment is unnecessary, as the 
reproducer ball adjusts itself to the track or groove made by 
the stylus. With the Standard Speaker (a combination speaker 
equipped with both recording and reproducing sapphires), it 
sometimes occurs that clear reproduction is not at first obtained. 
To obviate this, unscrew the adjusting screw (17) until its point 
disappears in the lug (31), and, while listening with the hearing 
tube, press the speaker lever (16) upward with the thumb of the 
right hand, and with the first and second fingers of the same hand 
turn the adjusting screw (17) slowly down until you can hear the 
record distinctly. This adjustment will bring the reproducing 
ball into the groove of the record. 



74 HANDBOOK OF THE PHONOGRAPH 

. . The speed of the machine in revolutions of the main 
Keguiation g^ft p er m j nute j s re g U i a t e d by the speed adjust- 
°J P ee ment screw (10). To increase speed unscrew this 
nut, and to decrease it screw the nut down. 

Observe this carefully when reproducing music, as a different 
speed from that at which the music was recorded will reproduce 
an entirely different pitch. The standard speed at which musical 
records are taken is about 125 revolutions per minute. 

. Although this device is not, strictly speaking, an 

e . " important factor in the working of the Phonograph, 

■=> but merely an appliance for greatly increasing the 

capacity of the cylinder, still a brief explanation of it, and of the 

reasons for its use, seems advisable before again passing to the 

details of instruction. 




Operating Lower the lift lever H, press the knife button until 
of burning the knife touches the cylinder, and press down the 
Rest knife lever L, then raise lift lever H. Do not put 

the Phonograph in motion to shave the cylinder until the knife 
has been adjusted as above and carried to extreme left end of 
cylinder, after which lower lift lever H. 

Machine at rest. Wax Cylinder firmly set upon mandrel ; 
hearing tube removed; speaker lever (16) pushed up. Fasten 



the kdison spring motor phonograph 75 

back the speaker weight by passing rubber band around lower 
end of the weight and over the speaker arm, about where the 
figures (23) are shown on cut. Or remove speaker, as preferred. 

Lower the speaker arm and lever (18) about over the center 
of the cylinder. Hold the end of the arm down firmly with the 
thumb and forefinger of the left hand, while with the same fingers 
of the right gently press the button (5) of the knife lever down- 
ward and toward the machine. Then press down the knife lever 
(26) as far as it will go, then close lift lever (18) up into its slot 
in the speaker arm, slide the arm to the extreme left, again lower 
the lever (18) and start the machine. 

When the turning off of a cylinder is completed, always see 
that the knife lever (26) is thrown up and back as far as it will go. 
Further instructions are given in Chapter 75, Part II, Dictating; 
see also Chapter 13, Part II, Blanks and Records. 




To Stop or to change to another part of the cylinder, 
Temp or- raise the lift lever H, without stopping the 
arily machine itself. 

Always keep the entire machine perfectly clean and 
Oiling free from dust. It is an essential to perfect work 

with any piece of machinery, and the Phonograph is 
no exception. 



76 HANDBOOK OF THE PHONOGRAPH 

Apply oil sparingly but often to the following parts, never 
over a drop at a time in any one place except where otherwise 
specified. : end bearings of main shaft ; thread of main shaft 
(several drops); back rod, (several drops); straight edge; the two 
bearings of the winding shaft ; the teeth of the rachet wheel on 
which pawl works ; the inside surface of the friction disc of gov- 
ernor, where the leather touches it; the cupped centers at the end 
of every gear shaft ; the governor shaft, where the governor-disc 
sleeve moves on the shaft, if dry. 

Three places will be found for oiling the barrels and to these 
places several drops should be applied, (a) The main oil hole 
is plainly marked on the large barrel. The other two are in the 
hubs, (b) There is a square opening in the hub of the loose 
barrel plate at the right hand end. By turning the winding shaft 
the oil hole can be seen through this opening. (c) The oil hole 
in the left-hand hub, if not in view, can be found by allowing the 
machine to run part of one revolution. 

Use best Phonograph oil only. 

Keep gear teeth free from dirt, to prevent wear and noise. 
Use benzine for this purpose if necessary, and afterwards apply a 
drop of oil. Care should be taken not to get any oil upon the 
drive belt, as it will cause it to stretch and slip loose. Oil only 
where directed. In smearing oil upon any other part you simply 
set a trap for dust. 

Before winding or starting machine, see that all set 

screws holding bushings, pinions and shafts are 
Instructions tight They sometimes work loose from the j ar of 

travel. 

See that all working parts are free, and particularly that there 
are no particles of wood or packing material in the mechanism. 

The belt should not be too tight, but almost loose enough to 
slip when main-shaft pulley (7) of the Phonograph is held station- 
ary with the motor running and wound up tight. A new belt 



THE EDISON SPRING MOTOR PHONOGRAPH 77 

should be brought to proper tension upon setting up machine the 
first time. 

If belt is too tight it will act as a break on the machine. 
After being once stretched it will require little or no attention. 

The tension of the belt is regulated by turning the thumb, 
screw at the front of the motor below. This belt-tightening screw 
should not be used when machine is in motion, as there is danger 
of hitting the moving governor and disarranging the governor 
springs. 

Observe that the rubber cushions on top edge of the body box, 
and body cushions (39) are in place, and that the main-shaft 
pulley (7) of the Phonograph is directly above the drive pulley of 
the spring motor, so that belt runs true. The belt must never 
run on the flange of the wheel. Care should be observed to keep 
the rubber cushions and washers of the spring motor in good 
condition at all times. 

The Phonograph should never be shipped with springs 
wound up. 

The sapphires upon the speaker and the turning rest are 
perfectly adjusted before shipment 

The bearings of the main shaft, called the centers, should be 
snug but not tight. There must be no shake. 

The sapphire recording and reproducing points should be 
kept free from dust and wax scales by brushing, or they may be 
touched with a little benzine on the finger tip. 

Never attempt to slide the speaker arm from side to side 
without either raising it or closing the lift lever, as you are liable 
to damage the thread upon main shaft by scraping the twin nuts 
across it. 

Do not remove main shaft from machine unless it becomes 
absolutely necessary, then use great care in drawing it out to 
avoid injuring the thread. 



CHAPTER V. 

The Edison Concert Phonograph. 



MR. EDISON has perfected the Phonograph. Beginning 
with the early tin foil machine, Mr. Edison has de- 
veloped the Phonograph step by step, until to-day the 
Phonograph stands on the pinnacle of perfection. It perfectly 
reproduces human voice ; just as loud — just as clear — just as 
sweet. It duplicates instrumental music with pure-toned 
brilliancy and satisfying intensity. Used with Edison Concert 
Records, its reproductions are free from all mechanical noises ; 
only the music or voice is heard. It is strong and vibrant enough 
to nil the largest concert hall. It is smooth and broad enough 
for the parlor. It is made with the careful precision that charac- 
terizes all Genuine Edison Phonographs. It is made to reflect 
credit and to uphold the fame of the name of the man who stands 
behind it. 

The Edison Concert Phonograph is actuated by powerful 
triple springs. It plays six to eight concert records with a single 
winding. It is finished in black and gilt enamel, with nickel 
parts. It has a polished oak body box and carrying cover. Size, 
12x17x17 inches. Weighs 51 pounds. Size of mandrel, 4% 
inches diameter by 5 inches long. Every Edison Concert Phono- 
graph includes, free of charge, an automatic reproducer, a 
recorder, a sapphire shaving knife, oak body box and cover, a 



THE EDISON CONCERT PHONOGRAPH 



79 



24-inch brass horn and stand, winding crank, speaking tube, oil 
can and chip brush. 

The Edison Concert Phonograph is built on the same body as 
the Edison Spring Motor Phonograph described in the previous 
chapter. The Phonograph top is also exactly the same, except 
that the parts are larger, to admit the swing of the five-inch record. 




are the same as in the preceding chapter. The 
following is the only point that it is necessary 
to emphasize especially : in closing swing arm of 
the Edison Concert Phonograph, see that the pin 
on swing arm enters hole on straight edge cast- 
ing. Press the arm firmly with thumb, at the same time lock- 
ing the lock bolt with first two fingers of same hand. 



General In- 
structions for 

Operating 
this Machine 



CHAPTER VI. 
The Edison "M" and "E" Electric Phonographs. 



THE Edison "M" Electric Phonograph, the most 
approved type of Electric Phonograph, is equipped with 
electric motor (wound for battery) and governor, and is 
fitted with instantaneous speaker clamps, for instant interchange 
of speakers. It sets in an oak body box. Weighs 65 pounds. 
Finished in black, gold and nickel. Size, 20 in. long, 9^ in. 
wide and 1 1 in. high. A Battery is not a part of the Phonograph, 
but is an independent apparatus. Storage or primary (chemical) 
battery may be used. The motor requires a steady current of 2% 
volts and 2 amperes. Its uniform action and continuous power 
supply recommends the "M" Electric Phonograph for all 
occasions where these requisites are desired. 

Two speakers are included, free of charge, with the "M" 
Electric Phonograph : the Edison Automatic Reproducer and 
the Edison Recorder ; also a sapphire shaving apparatus, a 
14-inch polished brass horn, a two-way hearing tube, an oil can 
and a camel's hair chip brush. The only change made in the 
above equipment, is to substitute a speaking tube for the 14-inch 
polished brass horn, if so desired. 

The Edison "E" Electric Phonograph. In general appear- 
ance and equipment this Phonograph is exactly the same as the 
"M" Electric, but is furnished with an electric motor wound to 



THE EDISON M ' AND " E " ELECTRIC PHONOGRAPHS 8 1 



The Edison "M" and "B" Electric Phonographs. 



32 



HANDBOOK OF THE PHONOGRAPH 




THE EDISON 



M 



AND "E : 
GRAPHS. 



ELECTRIC PHONO- 



INDEX OF PARTS. 



Brass Mandrel to hold wax cylin- 
der. (Assembled with Main 
Shaft.) 

Turning Rest, to shave cylinders. 

Feed Spring. 

Back Rod. 

Sapphire Knife Spring Knob. 

Main Shaft. (Always assembled 
with Brass Mandrel.) 

Main Shaft Pulley. 

Governor Frame. 

Governor Shaft. 

Governor Shaft Center. 

Swing Arm. 

Swing-arm Center. 

Straight Edge. 

Speaker Arm. 

Speaker. 

Speaker Lever. 

Speaker Adjusting Screw. 

Speaker Arm Lift Lever. 



19. Governor Adjustment Screw. 

20. Governor Brake, or Switch. 

21. Armature Pulley. 

22. Armature Shaft Center. 

23. Governor Block. 

24. Phonograph Body. 

25. Body-holding Screws. 

26. Shaving Knife Lever. 

27. Chip Box. 

28. Feed Nut. 

31. Speaker Adjusting Screw Lug. 

33. Top Plate Cover. 

34. Back Rod Sleeve. 

35. Lock Bolt. 

36. Governor Contact. 

37. Top Plate. 

38. Speaker Clamps. 

39. Belt-tightening Screw. 

40. Idler Pulley. 

41. Governor Top Brush. 



THE EDISON " M " AND " E " ELECTRIC PHONOGRAPHS 83 

run on the no to 120 volt Edison Direct Current. It is the most 
convenient style of Phonograph made. The power is both con- 
tinuous and handy, as connecting wires need only to be attached 
to the nearest electric light connection. It is equipped with 
resistance block fitted with lamps, attaching plug and cord. 

Instructions for Operating the Edison ■ ' M " and ' ' E ' ' 
Electric Phonographs. 

The "E" electric is in every way similar to the "M" electric, 
with the single exception of the motor, which is wound differently. 
For instructions as to care of batteries, renewals and recharging, see 
Chapter 11, Part II, BATTERIES. 

Machine at rest. Open speaker clamps (38) and 
To Record insert recorder with the speaker lever (16) pressed 

up against lug (31). 
Press up speaker lever D, place the speaking tube C on the 
Phonograph, and lower the lift lever H. 




Press up lift lever (18). The numbers refer to cut on 
page 82. Throw down the lock bolt (35) and open swing' : arm 
(n) wide. 



8 4 



HANDBOOK OF THE PHONOGRAPH 




„Xo\ ~ :::::n * 



Press down the lock bolt A and open swing arm B. 

Slip the wax cylinder, beveled end foremost, upon the taper- 
ing brass mandrel (i), and press it firmly, but not too forcibly 
into place. The ?iumbers refer to cut on page 82. 

Close the swing arm and relock it. 

Raise the speaker arm (14), an inch is sufficient, from the 
straight edge (13), upon which it rests in front, and slide to the 
left until directly over the beveled end of the cylinder, or the 
point at which you want the record to commence. Again lower 
it to straight edge and push the speaker lever (16) up as far as it 
will go. 

Move the brake handle to the left or right as the 
case may be. Obtain desired speed by turning 
■P governor adjusting screw M (see page 85). 
Start the machine by pushing the brake handle (20) to the 
left until it strikes against the pin. 

Place the speaking tube upon the tube plate, lower the lift 
lever (18) as far as possible, and commence dictation to the 
machine. Should it become necessary to pause during the dicta- 
tion and before the end of the cylinder has been reached, raise 



THE EDISON " M " AND " E " ELECTRIC PHONOGRAPHS 85 

lift lever (only) until it closes against the speaker arm ; this will 
disengage the feed nut from the fine thread upon the main shaft 
and at the same time raise the recording stylus from the wax. 




A white shaving will appear on the surface of the cylinder 
where it has been passed over by the stylus. Remove the speak- 
ing tube ; raise the speaker arm, and, throwing it back as far as 
possible, dust off these shavings by holding the camel's hair chip 
brush against the cylinder, and passing it very slowly from left to 
right. This operation being completed, the record, as it is now 
called, is read} r to reproduce. Further instructions are given in 
Chapter 15, Part II, Dictating ; also Chapter 3, Part III, 
Record Making. 

Press the speaker lever D up, place the hearing tube 
To Repro- -g Qn the Y honogrSLV ^ i ower t h e H£ t lever H, and 

turn the adjusting screw F until the proper sound 
is obtained. 

Iyift lever (18) up. The ?iumbers refer to cut on page 82. 
Open speaker clamps (38) and insert automatic reproducer. 
Push the speaker lever (16) up against the point of the adjusting 
screw (17). Now place the hearing tube on the tube plate, and 
lower speaker arm opposite the point where the record begins, by 
dropping the lift lever (18). With the Automatic Speaker the 



86 



HANDBOOK OP THE PHONOGRAPH 




following adjustment is unnecessary, as the reproducer ball adjusts 
itself to the track or groove made by the stylus. With the 
Standard Speaker (a combination speaker equipped with both 
recording and reproducing sapphires), it sometimes occurs that 
clear reproduction is not at first obtained. To obviate this, unscrew 
the adjusting screw (17) until its point disappears in the lug (31) 
and, while listening with the hearing tube, press the speaker lever 

(16) upward with the thumb of the right hand, and with the 
first and second fingers of the same hand turn the adjusting screw 

(17) slowly down until you can hear the record distinctly. This 
adjustment will bring the reproducing ball into the groove of 
the record. 



Regulation 
of Speed 



The speed of the machine in revolutions of the main 
shaft per minute is regulated by the speed adjust- 
ment screw (19). To increase speed unscrew this 
nut, and to decrease it screw the nut down. 

Observe this carefully when reproducing music, as a different 
speed from that at which the music was recorded will reproduce 
an entirely different pitch. The standard speed at which musical 
records are taken is about 125 revolutions per minute. 



87 

The governor speed (top) brush (41) on the speed- adjusting 
spring should rest against the under side of the contact disc (35) 
only. It must never touch the hub of the disc. 

_,, ^ Although this device is not, strictly speaking, an 

important factor in the working of the Phonograph, 
* ( but merely an appliance for greatly increasing the 

capacity of the cylinder, still a brief explanation of it, and of the 
reasons for its use, seems advisable before again passing to the 
details of instruction. 

Operation Lower the lift lever H, press the knife button until 
of Turning the knife touches the cylinder, and press down the 
Rest knife lever L,, then raise lift lever H. Do not put 

the Phonograph in motion to shave the cylinder until the knife 
has been adjusted as above and carried to extreme left end of 
cylinder, after which lower lift lever H. 




Machine at rest. Wax cylinder firmly set upon mandrel ; 
hearing tube removed; speaker lever (16) pushed up. Fasten 
back the speaker weight by passing rubber band around lower end 
of the weight and over the speaker arm, about where the figures 
(38) are shown on cut. Or remove speaker, as preferred. 

Lower the speaker arm and lever (18) about over the center 
of the cylinder. Hold the end of the arm down firmly with the 
thumb and forefinger of the left hand, while with the same fingers 



88 HANDBOOK OF THE PHONOGRAPH 

of the right gently press the button (5) of the knife lever down- 
ward and toward the machine. Then press down the knife lever 
(26) as far as it will go, then close lift lever (18) up into its slot 
in the speaker arm, slide the arm to extreme left, again lower the 
lever (18) and start the machine. 

When the turning off of a cylinder is completed, always see 
that the knife lever (26) is thrown up and back as far as it will. 
Further instructions are given in Chapter 14., Part II, Shaving. 

Handling The wax cylinder, which is somewhat brittle, should 
the be handled gently at first, until the operator becomes 

Cylinder practised. See Chapter ij, Part II, Blanks. 

or to change to another part of the cylinder. 

. ° * Raise the lift lever H, without stopping the 

Temporarily machine itself . 



Always keep the entire machine perfectly clean and 
Oiling free from dust. It is an essential to perfect work 

with any piece of machinery, and the Phonograph is 
no exception in this respect. 

Phonograph oil should be applied sparingly every two or three 
days to the following parts : "Oil hole," back of governor block; 
base of governor shaft ; small hole in top of governor frame ; top 
center bearing of armature shaft ; bearings of idler pulleys under 
which the main belt turns ; end bearings of main shaft ; thread of 
main shaft; back rod; a little upon the straight edge. Care should 
be taken not to get any oil upon the belts, as it makes them slip 
and stretch loose very quickly. Use as little oil as possible at the 
top of the governor, as spreading down it gets upon the contact 
and tends to make the motor govern badly. Oil only where 
directed. In smearing it upon any other part you simply set a 
trap for dust. 



THE EDISON ' ' M " AND ' ' E ' ' ELECTRIC PHONOGRAPHS 89 

To Tighten Main Belt. — Loosen the two body- 
uenera n- ]j j^i n g screws (25) which fasten the machine to the 
s rue ions tQ ^ ^ate, an( j turn belt- tightening screw (39) which 
is under the mandrel, inward. 

To Tighten Governor Belt. — Slightly loosen the four 
screws which hold the wooden governor block (23) to the top 
plate, the holes for which are slotted, and slide the entire governor 
to the left until sufficient tension is obtained. 

Belts should be kept moderately tight to prevent slipping ; if 
too tight extra power is required to start the machine. 

The sapphires upon the speaker and the turning rest are 
perfectly adjusted before shipment. 

The copper brushes, both motor and governor, should be kept 
clean by the use of benzine. Never oil them, or the commutator 
or contact on which they rest. These parts must be perfectly dry 
and bright. When necessary to clean, use care not to spread or 
displace the fine wires of the brushes. 

The bearings of the shafts, called the centers, should be snug 
but not tight. There should be no shake. 

Keep battery wire contacts bright and clean, and see that the 
wire is held tightly at its terminals. 

The sapphire recording and reproducing points should be 
kept free from dust and wax scales by brushing, or they may be 
touched with a little benzine on the finger tip. 

When the machine is used indiscriminately for both recording 
aud reproducing, do not leave the speaker lever (16) down 
except while recording. 

Never attempt to slide the speaker arm from side to side 
without either raising it or closing the lift lever, as you are liable 
to damage the thread upon main shaft by scraping the feed nuts 
across it. 

To use your power economically, be sure to cut off current 
from the motor when not in use. Do not allow any metallic sub- 



go HANDBOOK OF THE PHONOGRAPH 

stance to come in contact with either the speaker sapphires or 
the knife. 

Do not remove main shaft from machine unless it becomes 
absolutely necessary, then use great care in drawing it out to 
avoid injuring the thread. 



CHAPTER VII. 



The Edison a M" Concert Phonograph. 



THIS consists of a Concert body (see description of the 
Concert Phonograph, Chapter 5, Part II), mounted on 
an " M" electric motor, asdescribed in preceding chapter. 
It rests in an oak body box 20 inches long and g% wide. It 
stands 14 inches high, weighs 73 pounds, and is finished in black, 
gold and nickel. Is equipped with electric motor (wound for 
battery) and governor, and is fitted with instantaneous speaker 
clamps, for instant interchange of speakers. The battery is not a 
part of the Phonograph, but is an independent apparatus. Storage 
or primary (chemical) battery may be used. The motor requires 
a steady current of 2^ volts and 2 amperes. On account of its 
uniform action, continuous power supply, volume of sound, true 
tone quality, and distinct articulation, the "M" Concert 
Phonograph is recommended for important work where the highest 
results are sought. 

Two speakers are included, free of charge, with the "M" 
Concert Phonograph ; the Edison Automatic Reproducer and 
the Edison Recorder: also a sapphire shaving apparatus, a 24-inch 
polished brass horn and stand, an oil can and a camel's hair chip 
brush. 



"> 



9 2 



HANDBOOK OF THE PHONOGRAPH 



this machine are the same as in the preceeding 
chapter. The following is the only point that is 
necessary to emphasize especially : in closing 
swing arm of the Edison ' ' M " Concert Phono- 
graph, see that the pin on swing arm enters hole 
on straight edge casting. Press the arm firmly with thumb, at 
the same time locking the lock bolt with first two fingers of 
same hand. 



General 
Instructions 

for 
Operating 



CHAPTER VIII. 
The Edison " H " Coin Slot Phonograph. 



AN automatic Coin Slot Phonograph that is almost as effective 
as the higher priced machines. The machine is a Home:, 
requiring to be wound by the customer each time a coin 
is dropped in. It is simple in construction, easy of adjustment 
and costless to maintain. Every detail in construction has been 
worked out with the greatest care and precision. The slot mech- 
anism is an improvement over any other on the market, and is 
solid and substantial in every particular. 

Equipped with a winding stop, thus preventing overwinding 
by careless customers. The slot locks automatically while the 
machine is playing. The only care it needs is the occasional 
changing of the record. Most of the machines are operated by a 
nickel ; but machines to be operated by special coins are also to be 
had. Base measures 18^ x 12 inches. Height, 21 inches. 
Weight, 45 pounds. Is equipped with a 14-inch brass horn and 
and Edison Automatic Reproducer. 

Instructions for Setting Up and Adjusting the ' ' H " 
Coin Suot Phonograph, 

First open the large box containing the cabinet. Set it on a 
convenient stand or table. Unlock the lower swinging front. Pull 



HANDBOOK OF THK PHONOGRAPH 




The Edison "H » Coin Slot Phonograph. 



THE EDISON "H" COIN SLOT PHONOGRAPH 95 

out the brass knob to release the catch that fastens the glass cover. 
Raise glass cover till it is held back, wide open, by the swinging 
catch on the left. 

Be sure to remove any dust or excelsior packing that may 
have accumulated, from all parts of cabinet. The cabinet is now 
ready to receive the movement. 

.. Next open the smaller box containing the move- 

Unpacktng ment Yqu wiU gee for yourself> a f te rward, the 

delicacy of the mechanism. We tell you about it now so that 
no jamb, or knock, or twist, or blow shall be given to the coin 
chute or tripping mechanism or any other parts. The greatest 
possible care is exercised in packing and shipping this movement. 
It is first encased in a temporary stand or cabinet, which in turn is 
floated in a heavy outer packing case with thick layers of packing 
between the two boxes, thus making it impossible for the move- 
ment to be damaged in transit. Remove the inner cabinet from 
the packing box, side marked top up, and remove the wood 
screws. This allows the upper half of cabinet to be taken off, 
leaving the movement screwed to the lower half of the stand, 
with the sides exposed. It leaves the factory already assembled 
(except coin chute as noted hereafter) ready to run, and 
thoroughly tested. 

Make all adjustments in the order given in the following 
instructions : don't touch this piece or that piece, before you have 
followed out exactly the directions for each part. Study each part 
carefully and intelligently as you adjust it, and you will find no 
difficulty in setting up the whole Phonograph. Once properly 
assembled, the coin slot mechanism works perfectly, and, if care- 
fully treated, requires no attention other than changing the record 
and emptying the money drawer. 

Accidents and misuse, however, are contingencies that must 
be considered ; and the following suggestions and explanations 
are made so that you may be enabled to readjust the machine 
yourself in case of anything happening to it. 



9 6 



HANDBOOK OF THE PHONOGRAPH 



^ . Place the mechanism on a table before you, still 

liA . in its temporary stand. Study it carefully. Don't 

attempt to put it into the cabinet until you have 
looked at it carefully from the front, from behind, on all sides. 
The stand is purposely made open front and back, so that the 
working of all parts may be watched and studied. This open 
unobstructed view will enable you to see how simple and perfect 
the mechanism is. 

Untie the parts carefully that are fastened with cord, oil gears 
and centers as instructed in Directions for Operating Edison 
Home Phonograph. The Coin Slot Phonograph is built up from 
the Home, so you must first follow the general Home instructions 
down to To Reproduce. 

The polished nickeled coin chute with sliding sleeve is packed 
with the horn and other small parts in the large box, inside the 
cabinet. Adjust the coin chute A (Fig. i.) to the projecting piece 
B at the back of the movement, with the screw that is tied to it. 

Particular care must be observed that the coin chute is set so 
that it does not touch the two prongs C and D on the coin lever. 




THE EDISON " H ' ' COIN SLOT PHONOGRAPH 97 

The coin lever must play freely, without rubbing or even touch- 
ing the chute. Any friction at this point will throw the working 
of the machine entirely out. 

The winding is the next operation. At the first turn of the 
key, the speaker arm is lifted by the action of the friction lever B 
(Fig. i.) This friction lever plays upon the winding shaft. The 
proper amount of friction is regulated by the brass clamp F, by 
means of the adjusting screw as shown on the clamp. It should 
be just tight enough to lift up the speaker arm, and keep it raised 
during the entire operation of winding. If too tight it makes the 
machine wind hard. 

^ „ The raising of the speaker arm plays two important 

, „ 7 . parts ; ist, disengaging the feed nut from the main 
Mechanism \ ' ' , *? \* . « . 

shaft, and 2d, putting the return mechanism into 

operation. The lever G (Fig. 1.) comes into contact with the 

lugs H H on the sprocket chain, which carries the speaker arm 

back to the proper starting point. This is easily determined 

by shifting the lever G back and forth on the speaker arm, and 

then clamping it firmly by the thumb nut I in upper end, so that 

the reproducer will be exactly over the beginning of the record at 

the moment the sprocket lugs leave the lever G. This return 

movement also unlocks the slot in the cabinet, as explained under 

heading "Starting." 

is shown in Fig. 2. This is the device by which 
1 tie 01 op overwinding is avoided, thus prolonging the life of 
Winding ^ ma i nS p r i n g. Fig. 3. shows the relative position 
Mechanism of the gtop j and the pin Ky after the operation of 
winding. The pin K is against the stop J, thus stopping the wind- 
ing. Note that the pin K is on the winding gear and the stop J is 
on the spring barrel. While winding, the gear wheel and pin K 
revolve in the direction shown by arrows, the spring barrel remain- 
ing stationary. Three and a half turns of the winding key make 
the gear wheel and pin K revolve once. On the first revolution 



9 8 



HANDBOOK OF THE PHONOGRAPH 




F;§.2. 



the stop J presents the slot I, to the pin K, thus allowing the wind- 
ing to continue. On the 2nd revolution the stop J presents the 
slot M to the pin K, thus continuing the winding. On the 3rd 
revolution J is stopped by the pin K coming in contact at N. 
The correct adjustment of stop J must be such that it does not stop 
the winding until the spring is wound to its full capacity (but not 
too tight). After winding, make sure that the spring is wound 
fully by looking into the spring barrel on its left side, from the 
front of the mechanism. 



Adjustments 

Stop Winding 
Mechanism 



As the best results are obtained when the full 
force of the spring is exerted upon the mechanism, 
it is highly important that the spring should be 
coiled up tight in the spring barrel, or nearly so. 
If such is not the case, the stop J (Fig. 2.) has 



been moved or jarred by shipment, and has stopped the winding 



THE EDISON " H "COIN SLOT PHONOGRAPH 



99 




• operation with the spring not fully wound. To remedy, turn the 
stop J on its central pivot so that the pin K will come into slot M, 
thus permitting another revolution of the winding gear and pin 
K, equal to $% turns of the winding key. 

Should the opposite happen, that is, the spring become fully 
wound before the pin K touches the stop J, at the point N, let 
the machine run until the stop J passes the pin K, then turn the 
stop to position shown in figure 3. 
^ Should the return mechanism fail to return, or the coin in the 

j slot fail to start the machine, or the record stop playing half way 
through, the remedy is simple. Remove the record and revolve 
the shaft in the opposite direction, or toward the front, until the 
stop J disengages itself from the pin K, so that it can be adjusted 
as in Fig. 2 ; that is, so that the pin K fits into the slot M, thus 
permitting another revolution of the winding gear, equal to 3% 
turns of the key. 



IOO HANDBOOK OF THE PHONOGRAPH 

The importance of these winding adjustments cannot be em- 
phasized too much. 

As noted in the instruction card, the nickel is dropped 
Starting into the slot after the machine is wound. This 

prevents the possibility of ''working" the machine 
twice with one nickel. The coin is caught on the prongs C D 
(Fig. i) of the coin lever, its weight acting on a series of levers 
(as explained later under the heading "Stopping"), thus releasing 
the governor brake and starting the mechanism. The nickel stays 
on the coin lever until the record is played through, when it is 
released and falls into the money drawer. The machine is so 
planned that you cannot wind it as long as the coin remains on the 
coin lever. Once started by the nickel, it plays the record through. 
You cannot stop it, you cannot rewind it. Not until the nickel 
drops out of the coin lever will the machine stop. It is then 
ready to wind again. 

The starting of the machine and the movement of 

• n ° C • " the speaker arm locks the slot in the cabinet instantly . 
ing Device The lug Q ^^ ^ on thfi kver Q Qn the speaker 

arm releases a spring lever attached to the cabinet work, and 
throws a pin across the slot, thus making it impossible to drop in 
another nickel until the machine is rewound. As explained 
under its heading, the winding operation carries the speaker arm 
back to its original position ; and by so doing, unlocks the slot 
and the machine is ready for the next nickel. 

It is important that the slot locking device is always in 
working order ; for if it gets out of adjustment and allows of 
another nickel being dropped before the machine is rewound, or 
while it is winding, it locks the winding shaft immediately. 
Should this occur, trip the prong C on the rear end of the coin 
lever. This throws the nickel out, unlocks the winding shaft, 
and permits the machine to be wound properly. 



THE EDISON "h" COIN SLOT PHONOGRAPH IOI 

To stop the machine when the record is played to 
Stopping the end, adjust the wire P (Fig. i) by means of 

the thumb screw in the speaker arm, so that it just 
comes into contact with the lever Q at the proper time, thus 
throwing the nickel out of the coin lever and stopping the 
mechanism. The coin lever is balanced on the shaft R (See also 
Fig. 2). The adjustment of the balance is made by moving the 
weight S (Fig. 1) on the front end of the coin lever. On the 
other end of shaft R (Fig. 2) near the governor is a disc T with 
a small pin which works in a slot in the brake lever U. This 
brake lever comes into contact with the governor disc V, thus 
stopping the machine. 

While the nickel is on the coin lever the end of the 
To Adjust brake lever U (Fig. 2) should jusi clear the gov- 
ernor disc V, thus allowing it to revolve freely. 
When the nickel drops into the coin drawer, the weight S (Fig. 1) 
tips down its end of the coin lever, causing shaft R (Fig. 2) to 
turn, thus throwing pin in disc T upward, causing the brake lever 
U to press upward upon the governor disc V. If the pressure is 
not sufficient to stop the governor immediately, loosen the set 
screw in T, and turn disc toward the front, until the proper pres- 
sure of brake on governor disc is obtained. 

When you have mastered the movement thoroughly, shift the 
machine to the permanent cabinet. Take out the screws from top 
plate, and lift the machine out of the temporary stand, very care- 
fully. Don't Set the Mechanism Down Again, But Place 
it Immediately into the cabinet, taking the same care that none 
of the parts and especially the coin chute touches the woodwork 
as you set it into place. See that the two screw holes in the top 
plate correspond with the holes in the cabinet. Screw down firmly. 

. on the mechanism is connected with the short chute 

The Loin at tached to cabinet by the sliding sleeve on the 
UDper end of coin chute. 



102 HANDBOOK OF THE PHONOGRAPH 

.. On the inside of the lower cabinet, to the right, just 

* over the money drawer, is a flat iron pawl. Slide 
J the key through the hole in the cabinet, on to the 

winding shaft, lifting the pawl at the same time. When the key 
is in its proper position, the pawl drops into the groove on key. 
Thus the key is free to turn, but absolutely unremovable from 
the outside. 



CHAPTER IX. 



The Edison "M" Coin Slot Phonograph. 



T 



HIS outfit consists of an Edison "M" Electric Phonograph 
with Automatic Reproducer, hearing tube, 24-inch 
polished brass horn and horn support, automatic slot 
attachment, storage battery and cords. 
The Phonograph mechanism and the 
battery are enclosed in a substantial 
oak cabinet, as shown. Weighs 130 
lbs., height, 53m.; occupies a floor space 
of 27^ x 16^ in. These machines 
when placed in a store, hotel, or 
place of amusement usually prove a 
source of great profit to their fortunate 
owner. Usually operated by a nickel. 
Machines to be operated by special 
coins are also to be had. As they are 
actuated by electricity, no winding is 
necessary. They run noiselessly and 
continuously, and are a safe and profit- 
able investment. 




104 HANDBOOK OF THE PHONOGRAPH 

Instructions for Operating the Edison ' ' M " Coin Si<ot 

Phonograph. 

'The Phono- is almost identical with the "M" Electric, and the 
graph same instructions apply as have been set forth 
Mechanism already in Chapter 6, Part II. 

The Coin is so nearly like that used in the "M" Concert Coin 

Slot Slot Phonograph (described in the following chapter) 

Mechanism that the direction for operating apply word for word. 



CHAPTER X. 



The Edison "M" Concert Coin Slot Phonograph. 



THIS outfit consists of a Concert Body, as described in 
Chapter 5, Part II, mounted on an "M" Ei^CTric motor. 
It is equipped with an Automatic Reproducer, automatic 
slot attachment, hearing tube, 24-inch polished brass horn and 
horn support, together with complete storage battery and cords. 
The Phonograph mechanism and the battery are enclosed in a 
handsome oak cabinet, similar in ap- 
pearance to the " M " Coin Slot Cabinet, 
described in previous chapter. It stands 
55 inches high, and occupies a floor 
space of 28 by 18 inches. The illustration 
shows the door removed, in order to 
display interior of the cabinet. 

As it is actuated by electricity, no 
winding is necessary. Runs continuous- 
ly and without noise. Usually operated 
by a nickel. Machines to be operated by 
special coins are also to be had. 

As a novelty, the Edison Concert 
Coin Slot Phonograph is the most at- 




106 HANDBOOK OF THE PHONOGRAPH 

tractive and wonderful musical and talking machine ever put 
before the public. 

Instructions for Operating the Edison "M" Concert 
Coin Slot Phonograph. 

The Phono- is almost the same as the "M" Electric, and the 
graph same instructions apply as have been already given 
Mechanism in Chapter 6, Part II. 

The Coin When the coin is dropped in the slot X it travels 

Slot down the chute Y and stops at a point A under the 

Mechanism cover Z. This point A is between two slide pieces, 
B and C, the ends of which project beyond the cover Z. 

The weight of the coin against slide piece B overcomes the 
pressure of the copper spring D, which is attached to the slide 
piece B, and presses B against the copper contact E, which 
makes an electrical connection, thus starting the motor. 

The speaker arm will now travel over the wax cylinder until 
the projection (on which the lift lever works) comes into contact 
with the adjustable dog F on the horizontal rod G. When this 
dog F is adjusted properly, the speaker arm projection when 
stopped by it, will come just under the hook J on the vertical rod 
K. Note that this rod K extends through the base into the 
lower cabinet. 

On the left end of the rod G is the pulley P of the the return 
attachment and clutch H. When the moving speaker arm engages 
dog F, which is firmly fastened to rod G, the entire rod slides to 
the right, slowly propelled by the moving speaker arm, thus 
engaging the clutch H with the pulley P. 

The return attachment will now wind up the cord until the 
lever I raises the speaker arm (thus lifting the speaker from the 
record) and, by striking against the hook J, lifts the vertical rod 
K, causing the lever 1SL, (in the lower cabinet) to pull out the 
slide C, releasing the coin which drops into the drawer M. 



THE EDISON "M" CONCERT COIN SLOT PHONOGRAPH 



I07 



500000000 



000000000000 



r\ 




108 HANDBOOK OF THE PHONOGRAPH 

The pressure of the coin against the slide B being now 
removed, the copper spring D forces the slide back to its original 
position, breaking the electrical connection and stopping the motor, 
the momentum of which will carry the speaker arm back, or 
nearly back to the point of starting. The slide C returns to its 
original position by the weight of the rod K pressing down upon 
it. When another coin is dropped in, the speaker arm is carried 
fully back against the dog N, which disengages the clutch H 
from the pulley P, thus allowing the cord to unwind, lowering 
the speaker arm and starting it off at the begining of the record. 
The dog N should be located so that it will strike the lever I 
(thus disengaging the pulley on the return attachment) when the 
speaker in the speaker arm is exactly at the starting point. 

The automatic parts are all adjustable, and it only needs 
careful attention to the above instructions, together with watch- 
ing and studying the parts, to obtain absolutely perfect results. 



CHAPTER XI. 

Batteries. 

v . When the first "M" Electric Phonographs were put 

/ on the market they were supplied with the Grenet 
type of primary battery, using bi-chromate of 
potash. There were many objections to this type of battery; chief 
among them its short life, and consequent expense, its uncleanli- 
ness and the care needful to keep it in order. Other styles of 
primary batteries have come and gone. Some have been more 
successful than others by lacking one or more of the above 
objections. Not until the appearance of the Kdison-I,alande 
Battery however, did the problem of efficiency, economy and 
cleanliness appear to be anywhere near a practical solution. Here 
are the principal points in favor of the Kdison-L,alande Batteries; 
points that place them far and away in the lead of all other 
primary batteries for use with the Edison "M" Electric 
Phonograph : 

i st. High and constant avaii«abi,e electromotive force. 

2d. No local action, and therefore, no loss of energy, while 
the cell is idle — the chemical action in cell is less than one per 
cent, per month. 

3d. Extremely low internal resistance. 

4th. Heavy current delivery, absolutely constant. 

5th. Cheap materials for renewals, easily obtained. The 



HO HANDBOOK OF THE PHONOGRAPH 

elements employed in the Edison-Lai ande cell are zinc, which 
forms the negative pole, and black oxide of copper (Cu. O), the 
positive pole of the battery. The exciting liquid is simply a 
solution of caustic potash. 

6th. No attention or inspection required, until all the energy 
of its elements is exhausted. 

7th. Convenience of form, and freedom from noxious fumes 
or chemical deposits. No creeping. 

8th. No polarization. 

9th. Will not freeze at lowest temperature. 

The Kdison-Lalande Batteries are made in many sizes and 
styles, but the ''V" cell for portable work and the "S" cell for a 
permanent installation recommend themselves especially for 
Phonograph service. Here is a capital "Exhibition" battery, so 
constructed that it may be moved from place to place with the 
least possible trouble. It consists of four liquid-tight enameled 



Portable Battery. 



BATTERIES 



III 



steel cells, type ''V," capacity 150 ampere-hours, in a polished 
oak case, with a handy strap for carrying. It measures 
13 x 13x9^ inches. 

This battery will run a Phonograph for 50 hours with a single 
charge, and as it is absolutely liquid tight, it is just the thing for 
travelling exhibition work. Weighs 36 pounds empty, and about 
50 pounds charged. 

For stationary work, the "S" battery has been found to meet 
all requirements. It consists of four Edison-I^alande cells, type 
"S" (300 ampere-hours), with battery cords, in a lead-lined 
polished oak box, size 25% x 8 x 15 inches. 




S" Battery, 



This battery will run the Phonograph for 100 hours with a 
single charge. The matter of weight being a secondary consider- 
ation, the cells are larger and are of porcelain instead of enameled 
steel. Weighs about 90 pounds when charged. With double the 
capacity of the portable batteries, it costs but 25 per cent. more. 
For general convenience and efficiency it is equalled by the 



II2 HANDBOOK OF THE PHONOGRAPH 

storage battery only when the owner of the latter has exceptional 
facilities for recharging. In general, the primary battery is 
recommended, as it places the operator in control of the source of 
his power, thus insuring him a current at all times. This is 
easily accomplished by his having on hand always a supply of 
renewals, with which he can recharge his own battery at any 
time. 

As implied by the name, these batteries store the 
storage energy with which they are charged and keep it 

ready for use at any time. With an electric light 
or a power station near at hand, at which the batteries may be 
recharged, they are undoubtedly preferable to any form of primary 
battery. It will be found convenient to have two or more of the 
moderate size cells in preference to one large one. These cells are 
heavy, the plates being of lead, immersed in dilute sulphuric acid. 
Two smaller cells are not only easier handled than one large one, 
but by having two or more, a fresh battery may be held always 
in reserve, thus avoiding the embarrassment and annoyance of an 
exhausted cell at an inopportune time. The storage battery 
illustrated weighs thirty-five pounds, and measures 4 x 10 x 14 
inches. It will run a Phonograph for 30 continuous hours. 



When a new battery is received it should be 
given a five-hour charge at the normal rate, 
fe? n t' or at a lower rate for a proportionately 
J! ' greater length of time. Whenever the bat- 

tery is to be charged, the rubber screw caps 
should be taken off. 



Instructions 



of 
Storage Batteries 



In connecting the charging wires (from a direct current cir- 
cuit, NOT AN ALTERNATING) to the battery, great care 
should be taken that the positive wire is connected to the 
positive pole of the battery, either directly or through the re- 
sistance which is usually necessary, and the negative wire to the 



BATTERIES 



113 



negative pole of the battery ; if connected in the reverse direction 
very serious injury to the battery will ensue. 

The height of the solution in the cell should be frequently 
observed and if there has been such a loss of solution either by 
evaporation or spilling as to leave the tops of the plates exposed, 
it should be replaced. If the loss has been occasioned by evapo- 
ration, pure water should be used ; 
if the loss has been occasioned by 
spilling, solution should be added ; 
the solution is dilute sulphuric acid 
of a specific gravity of 1200 , or 
25 ° Beaume, as shown on the hy- 
drometer, at normal temperature 
(6o°F.). If it is not convenient to 
procure this solution already mixed 
and ready for use, it should be 
prepared by diluting commercial 
sulphuric acid, or " Oil of Vitriol " 
as it is more commonly called, with 
pure water. The acid, as well as 
the water, must be free from im- 
purities such as iron, arsenic, nitric 
or hydrochloric acid ; this is ab- 
solutely essential. When diluting, the acid must be poured 
into the water, not the water into the acid ; the proportions of 
acid (of 1.840 specific gravity) and water are one to five (by 
volume). The acid must be added to the water slowly and with 
great caution, on account of the heat generated ; the final density 
of the solution (1200 specific gravity) must be read when the 
solution has cooled. 

In Phonograph work the battery should not be discharged 
below 1.9 volts per cell on closed circuit. If a voltmeter is not 
available, the battery should be considered as discharged when 
the Phonograph shows the slightest tendency to run slowly 




114 HANDBOOK OF THE PHONOGRAPH 

because of lack of power. Never, for any work, discharge below 
1.80 volts per cell. 

When the battery is being charged, the charge should con- 
tinue until the voltage on each cell reaches 2^/2 volts with the 
normal charging current flowing. If a voltmeter is not available 
the charge should be continued until each cell has been gassing 
or bubbling freely for at least twenty minutes. 

Sometimes, especially if the discharge has been at a very 
low rate and has extended over several days or more, the charge 
should be considerably prolonged, as at these rates much more 
than the normal capacity is taken from the cells. 

The rate of charge should never exceed the normal rate of 
the cell. 

Cells should never be allowed to stand discharged, but as 
soon as exhausted, should be immediately charged up. If, for 
any reason, the battery is to remain idle for some time, it should 
first be fully charged and then given a recharge, enough to cause 
the gassing to be very free, at least once a week. 

It is absolutely necessary that the source of 
Lhargingfrom current j s from a direct curren t system. 

j% .? g THE ALTERNATING CURRENT CAN- 

and Railway NQT BE USED Several met hods may be 

employed ; the simplest and cheapest, es- 
pecially if the battery is of moderate capacity (say up to 10 
amperes for eight hours) , is from the incandescent light circuit, 
which is almost always available ; sometimes, however, it is 
necessary to draw from either the 500-volt trolley circuit or an 
arc-light circuit. 

In the case of the incandescent light and the trolley circuits, 
resistance will be necessary to reduce the potential to the proper 
amount ; it is generally most convenient to use lamps for this 
purpose, the charging current being adjusted by varying the 
number in circuit. 



BATTERIES 115 

Charging If an arc-light circuit is the only available charging 
from Arc- source the method of connecting in the battery is 

Circuits somewhat different than in the case of the other 
circuits. Here the battery is put directly in series with an entire 
circuit of lamps, which are in service either in the building or on 
the street. In order to insure that this circuit is not broken 
when the battery is thrown in or out, a peculiarly constructed 
switch (called a consumer's switch) is required. 

The difficulty in the use of this source of current for charging 
portable batteries lies in the care which must be exercised to avoid 
injury to persons or property from the high voltage of this class 
of circuit. This method of charging is recommended only where 
no other means are available, and should be employed by persons 
familiar with electrical connections and the handling of high 
tension wires. 



CHAPTER XII. 



Repeating Attachment. 



A SIMPLE and ingenious mechanism by which the Spring 
Motor, the Concert, the "M" and "E" Electric, 
and the " M ' ' Concert Phonographs may be made to 
play the same record continuously. Easily regulated. Nickel 
plated and highly polished throughout. 

As attached to the Phonograph, the pulley A runs 
Instructions continuously . Wnen tne en & f a reC ord is reached, 

j/. 0r . the wire B comes into contact with feed nut spring, 
Adjusting causing tne winch c to engage the clutch D, both C 
and D being on same shaft as pulley A. The cord is threaded 
through E, F, G and H, I, J, (the latter being assembled on the 
speaker arm. ) The end of cord is tied into a hole in the speaker 
arm lift lever. When the winch C and clutch D are engaged, as 
shown in cut, the winch winds up the cord, first raising the 
speaker arm lift lever (thus throwing the feed nut out) and then 
pulls the speaker arm back to starting point, until the feed nut 
spring strikes the post K. This separates the winch from the 
clutch and it stops winding up the cord, allowing the speaker 
arm to drop into position at the beginning of the record, which 
starts off to repeat. 



REPEATING ATTACHMENT 



II 7 




T0 Adjust With reproducing ball at the beginning of record, 

for any see that clutch and winch are disconnected. Move 

Length post K against feed nut spring. At end of record, 

Record slide post L to right or left as may be necessary, so 

that wire B just touches feed nut spring. 



CHAPTER XIII. 
Blanks and Records. 



THE Edison record of to-day is commonly termed "a wax 
record." There is nothing in its composition that 
justifies the term, however, as the principal ingredient in 
the mixture from which the cylinders are moulded, is stearate of 
soda, a white chemical compound, hard and semi-transparent. 
These cylinders vary in color, from white to a dark brown, caused 
by varying conditions in the process of making. This difference 
in color has no bearing whatever on their quality. They are all 
of the first grade. In fact, no other than the first grade is known 
at the Edison Works. 

The cylinder as it is first moulded is known as a blank. The 
Edison blank is chemically pure. It has no successful rival in 
the market. There is no talking machine company or infringer 
who does not recognize this fact, and there are no records worth 
having, that are not made on Edison blanks. Other kinds are 
gritty, harsh and unserviceable, and little if any cheaper. 

As delivered by the factory, blanks do not have surfaces 
prepared for receiving a record. It is necessary to shave off one 
or two turns to secure a perfectly true working surface. All 
Phonographs except the Gem are furnished with a device for doing 
this. When once trued, the cylinder always remains true. This 
operation is termed shaving, and is fully treated in the following 



BLANKS AND RECORDS 



II 9 



Chapter. Further points are also given in Chapter 3, Part II, on 
Record Making. 

The cylinder, which is somewhat brittle, should be 
handled gently at first, until the operator becomes 
practised. 



Handling 
Cylinder 



Thrust the first and second finger of the right hand into the 
thick end of the cylinder, and hold it fast by spreading the fingers 
apart, as shown in the cut. Touching the outside surface of a 
prepared cylinder, or record as it is called, destroys the attract- 
iveness and generally 
the value of such 
record. Slip the cylin- 
der, beveled end fore- 
most, upon the taper- 
ing mandrel. Push it 
on the mandrel until 
it holds firmly, by 
friction. The inside 
of the cylinder is also 
conical, to fit the taper 
of the mandrel. Not 
too tight, or it may crack the record ; nor yet again not too loose. 
If the latter happens, the cylinder revolves on the mandrel, mak- 
ing the record repeat. A warm cylinder should not be put on a cold 
mandrel, nor a cold cylinder on a warm mandrel, nor should a 
cylinder be left on the mandrel for any length of time when the 
machine is not in use. The first and third conditions cause the 
the compound to contract, resulting in the record binding so 
tightly that it cannot be removed, and sometimes cracking it. To 
remove a "frozen" record, put the Phonograph in a very warm 
room for a short time, which will cause the record to expand. 
The second condition above noted will make trouble by causing 
the record to expand and keep slipping on the mandrel. Slot 




120 



HANDBOOK OF THE PHONOGRAPH 



Phonographs are always equipped with rubber mandrels, thus 
obviating the difficulties that result from exposure and sudden 
changes in temperature. 

in boxes or cabinets made for the purpose, which 
have perpendicular pegs at fixed distances to pre- 
vent cylinders from coming in contact with each 
other. Over these pegs they are placed beveled 
Use a camel's hair chip brush to remove dust or chips 
from the surface. Do not attempt to blow them off. Never lay 
a record down on its side, or handle it other than as described. 
While it does not absolutely ruin it to touch its surface, still 
the fingers leave a mark and press in the ever present dust so 
as to be noticeably apparent in the reproduction. 



Cylinders 
Should 
be Kept 

end down. 




How to 

Wrap 

Records 



Split apart the cotton batting and fold back one end 
so that the glazed outer surface, (which is slightly 
rough) does not come in contact with the record. 
The cylinder is then rolled up, with the soft fibre 
of the cotton toward the record. The record ticket is placed 
between the cotton and a sheet of paraffine paper ; the number 
and title of the record showing through the paraffine paper. The 



BLANKS AND RECORDS 121 

ends of the cotton and paper are then tucked inside the cylinder, 
which, thus wrapped, should fit snugly in the record box. 

When wrapped thus carefully, records are not likely to be 
damaged either when carried or when shipped by freight or 
express. 

_ , records will last a long time ; and while they may 

/ show a growing harshness as they approach the 

1 hundred mark, still they may be used over and over 

again without appreciable difference, except to a very discerning 
ear. A cracked record may be repaired if handled deftly. Press 
the edges of the crack firmly together, using a magnifying glass to 
determine when the joint is exact. Then heat a knitting needle 
or table knife, and sear the edges of the crack on the inside of the 
record. The writer has done this with such good luck that the 
click of the reproducing ball passing over the joint has been 
hardly noticeable. 

Broken records are beyond hope ; they are absolutely of no 
value. 



CHAPTER XIV. 
Shaving. 



THE mechanical work has been described in the directions 
for operating the different Phonographs. Here are some 
important general points. 

The knife should always be allowed to pass over the entire 
length of the surface of the cylinder, otherwise there will remain 
a portion of the wax which is thicker than the rest, and if a new 
adjustment of the knife be made to the right of the end of former 
cut, it will not touch the surface to the left of it. If adjusted to 
the left, on reaching that part which was before unshaved the 
knife will take too deep a chip, and tear instead of cutting the wax. 

If the chip chute becomes clogged, it will prevent shaving. 
Keep the chute clean by raising the speaker arm from the straight 
edge, moving the carriage to the extreme right, and striking it 
gently against the back lug of the casting. Under no circum- 
stance jar out the chips by striking the front of the speaker arm 
on the straight edge. 

If the slot in the face of the chip chute (through which the 
sapphire knife projects and into which the chips or shavings feed) 
becomes clogged, apply the camel's hair chip brush or a wooden 
tooth pick. Never touch the cutting edge of the sapphire with 
a knife or any metal tool. 



SHAVING 123 

If desired, the chip chute can be removed entirely by unscrew- 
ing its set screw, and the knife will shave without obstruction. 

The thinnest possible shaving will leave the smoothest surface. 
Shave several times in preference to a single deep cut. 

New blank cylinders require trueing, as they do not have 
prepared surfaces, and are likely to be eccentric. In trueing these, 
set the knife on the highest part \ if any, of the blank. When once 
trued, blanks always remain cylindrical. 

Never attempt to set the knife while the machine is in motion. 

After very little practice the eye and ear of the operator will 
become accustomed to the sound and appearance of a proper cut, 
and will readily detect anything wrong. Other points are given 
in Chapter j, Part HI. The Secret of Making Phonograph 
Records. 



CHAPTER XV. 



Dictating. 



A PERSON desiring to dictate letters, essays, or statements, 
simply places the cylinder on the mandrel of the instru- 
ment, and dictates at leisure. Should the dictator, at any 
time while dictating, desire to pause, all that is necessary is to 
raise the lift lever on the speaker arm and cease talking. The 
Phonograph gives these special advantages to the person dictating; 
it is a silent and patient amanuensis, and is always ready to record 
what is said ; it will take down exactly what is spoken to it, word 
for word, and the only care required is that the person talking to 
the machine articulates distinctly. 

The Edison Standard Speaker, (See Chapter 16, Part II) 
combining both recorder and reproducer, is generally used on 
commercial Phonographs. 

In dictating, the correspondent has frequent occasion to pause, 
and in many cases loses the thread of his discourse. To stop 
abruptly in the course of a dictation, it is only necessary to raise 
the lift lever without stopping the machine. In resuming, should 
the last few phrases be forgotten, lower the lift lever, and, raising 
the speaker lever, listen with the speaking tube. The action of 
the speaker lever throws the reproducer into the track some five 
or six threads back of where the recorder stopped. After listen- 



DICTATING 125 

ing to the last few words, lower the speaker lever (thus bringing 
the recorder into position) and continue dictating (without 
stopping the machine). 

To avoid errors, the names of persons and places should 
always be spelled out, unless the operator is familiar with them. 
For further particulars see Chapter 5, Part III. The Phonograph 
as an Aid to the; Arts of Stenography and Typewriting. 

The speed of the main shaft for dictating should not be less 
than seventy or eighty revolutions per minute, at which speed it 
will take about four and one-half to five minutes to cover the 
entire surface. Musical records should not be recorded at less 
than one hundred and twenty-five revolutions per minute. Until 
the eye becomes practiced the number of revolutions of the shaft 
can be determined by counting the revolutions of the set screw 
in pulley. 

Should the end of cylinder be reached before a letter is ended, 
it is only necessary to say ' 'Continued," and finish upon another 
cylinder. 

The advantages of the Phonograph for commercial work, 
may be summed up pithily and tersely in the following ten 
points : 

1. Speed. You may dictate as rapidly as you please, and 
are never asked to repeat. 

2. Convenience. You dictate alone at any hour that may 
suit you. 

3. Saving of Operator's Time. During the dictation, 
instead of receiving notes, the operator can be employed upon 
other work. Aside from this, the operator can make much better 
speed in typewriting from the Phonograph, than from shorthand 
notes. 

4. Accuracy. The Phonograph can only repeat what has 
been said to it. 



126 HANDBOOK OF THE PHONOGRAPH 

5. Independence. It is easy to replace a typewriter opera- 
tor, but a good stenographer is hard to find. 

6. Economy. The saving in your own and in your operator's 
time, will more than pay for a Phonograph in less than a year. 

7. TiRELESSNESS. The Phonograph is always ready for 
work. 

8. Simplicity. The method is simple. No time need be 
lost in learning it, by either dictator or transcriber. You can 
commence work at once. 

9. Control. The Phonograph is always perfectly under 
the control of both dictator and transcriber. The former cannot 
dictate too fast for the latter. 

10. Progressiveness. The largest and most progressive 
business houses in the country are using Phonographs, and 
enthusiastically indorse them. 

For further details concerning the use of the Phonograph in 
business > see Chapter 5, Part I/I, The Phonograph as an Aid 
to the Arts op Stenography and Typewriting. 



CHAPTER XVI. 
Speakers. 



As its name implies, is made for reproducing 
The Edison purposes only, and is of the greatest value to every 
Automatic user. For reproducing only, the Automatic 
Reproducer Reproducer is recommended as being superior to 

the Standard Speaker. For the information of those 
not acquainted with either, a brief 
description follows. It has no record- 
ing sapphire nor can one be attached 
to it. It does away with the use of 
the speaker adjusting screw, as it is 
so constructed that it always tracks 
the thread of the record, overcoming 
the expansion and contraction of the 
wax cylinder in different temperatures. 
Thus, when the "track" is once 
found, the reproducing ball remains 
properly adjusted, and the repro- 
duction holds clear and firm through- 
out. On account of always being in the track, it sounds much 
louder than the Standard Speaker, which may get out of track, 
thus requiring adjustment by use of adjusting screw. 




128 



HANDBOOK OF THE PHONOGRAPH 




Thp F//' * s a com bination recording and reproducing device, 
n. j i being equipped with two sapphires, one for record- 
r. 7 ing and the other for reproducing. It was designed 

' for recording and instant reproduction for dictation 

purposes, thus obviating the neces- 
sity of change of speakers. In 
combining these qualities, it was 
necessary to design and construct 
it with rigid weights. Owing to its 
rigid character, and the unequal 
expansion and contraction of the 
wax cylinder, the reproducer some- 
times loses the track of the record, 
and requires to be adjusted by the 
use of the speaker adjusting screw. 

Th ~Fdi n ^ S * ts name indicates, is especially adapted for 
to / recording purposes only. It is not constructed so 

rigidly as the Standard Speaker, and consequently 
adjusts itself automatically, making 
an even and unvarying cut on the 
surface of the blank. It is furnished 
with a recording sapphire only, of the 
highest quality and most delicate 
adjustment. The adept at record 
making will find in this attachment 
the finest recording equipment that 
can be produced. It is used by all the 
leading makers of high-priced Original 
Records. 

The Proper Complete and detailed instructions as to what 

Diaphragms diaphragms are the best for recording different 

To Use volumes and qualities of sound, are given in Chapter 

3, Part III, The Secret of Making Phonograph Records. 




SPEAKERS I2 g 

jj All that is necessary is the "know how" and a 

. small bottle of stratena. Unscrew the soeaker- 

j\ Pi) £Z1,¥* of* 
J clamp-ring A, and remove the tube-plate B. On 

<-, ^f S top of the glass diaphragm you will find a thin 

* e ' rubber ring GG (called a gasket). If this gasket 

has become hard, do not use it again. Take it out. Then remove 
the glass diaphragm. On the under side of the diaphragm DD 
is another gasket GG. If this has not become hard it can be 
used again, otherwise throw it away. 

See that a rubber gasket is always placed under the diaphragm. 
Now put the diaphragm into place on top of the gasket, being 
careful that it does not touch the side of the cup. This is import- 
ant. Now place another gasket on top of the glass, adjust tube- 
plate in position and tighten the 
e ^j^JLg* speaker-clamp-ring, which should not 

D - Lg£^3L* zitt D be screwed in too tight or yet left 

\f *; _ i ' ' too loose. If too tight the diaphragm 

! | ceases to be sensitive. If too loose the 

record will whistle or blast. There is 
Fist i 

. ' . a happy medium which you must 

Cross Section View. ,. r ,, 

discover for yourself. 

Unscrew the speaker-weight-limiting-screw C allowing the 
speaker- weight W to swing freely on the hinge pin K. Do not 
allow the weight to touch the glass. If this is done it may crack 
the glass. 

The cross-head F (a small flat metal disc) hangs from a tiny 
link L from the reproducer arm H. If the glass diaphragm has 
been broken, the cross-head should be scraped so that no cement 
or bits of broken glass remain on it. It should also be washed 
with a clean cloth so that no dirt or oil remains on it. Benzine 
will do this thoroughly. 

If you are changing diaphragms (substituting either a thin- 
ner or thicker glass for the one in use) the stratena which cements 
the cross-head to the glass may be melted by applying heat to it. 




130 HANDBOOK OF THE PHONOGRAPH 

The safest way is to heat the head of a nail fairly hot and press 
it gradually against the glass under the cross-head. It may crack 
the glass but it is the surest way of detaching the cross-head. 
The new glass to be substituted must also be cleaned thoroughly 
(preferably with benzine) as any oil or 
dirt on either the diaphragm or the lg ' 2 * 
cross-head makes it difficult to make 
a good joint wiih the cement. 

Dip the end of a match into the 
stratena and drop a very small drop in 
the centre of the glass diaphragm. 
Lower the speaker-weight very very 
slowly to the glass and then with the 
aid of a pin or some sharp pointed instrument, place the cross- 
head in position ; pressing it firmly. A small wedge of paper 
under the sapphire point will serve this purpose very nicely. Now 
place the weight-limiting-screw in position, then turn the speaker 
so that it rests on the tube-plate as shown in Fig. 1 , and allow 
the stratena to dry for at least an hour. 

INDEX OF PARTS. 

A — Speaker-Clamp-Ring. H — Reproducer Arm. 

B — Tube-Plate. I — Reproducing Arm Pin. 

C — Limiting-Screw. J — Sapphire. 

D — Diaphragm. K — Speaker Lever. 

K— Hinge Pin. L— Link. 

F— Cross-Head. W— Speaker Weight, 
G— Rubber Gasket. 

Great care should be taken not to use the speaker until the 
stratena has become thoroughly dry. These same instructions 
apply in the adjustment of the Edison Automatic Reproducer, 
The Edison Standard Speaker, and The Edison Recorder. 



CHAPTER XVII. 
A Word About Belts. 



THE slipping of the drive belt on the main shaft pulley is due 
to the following conditions : 

An Oily Belt is the most frequent cause. When 
oiling a Phonograph, absolutely no oil should be put on the 
surface of the pulley or on the belt. When this happens it not 
only makes the belt slip but softens the leather, thus causing it 
to stretch very easily. 

A I/)OSE Belt. — In spite of great care used in selecting 
material, a belt is sometimes cut from a stretchy part of the leather, 
or, again (as above noted) , oil will cause the best belt to stretch 
very quickly. With ordinary care a belt will last a year without 
the need of renewal. A belt should not be renewed or shortened 
under the impression that it is too loose, until the idler pulley 
(which is placed on every Phonograph for the very purpose of 
taking up the slack in a belt) touches, or nearly touches, the 
drive wheel inside the mechanism. 

To Shorten a Belt. — Dampen it at the point where it is 
already joined. When the ends separate, dry thoroughly. Apply 
stratena on the parts to be joined, overlap a quarter to a half an 
inch as may be necessary and press firmly togetherf or an hour 
or two. If the belt is oily it will be impossible to make the 
cement stick. Buy a new one. 



PART THIRD 

THE OPENEER PAPERS 




CHAPTER I. 
What Mr. Openeer Heard. 

LAST Christmas my wife and I were invited to a house party 
at Larchmont, New York. The gray afternoon was deep- 
ening into dim dusk as the sleigh left the little station, 
and the cold was intense. Our fifteen 
minutes' ride to the home of our host 
chilled us through and through, and 
as we fumbled with wraps and gloves 
in the silent hall of the house, our 
feelings were divided between personal 
discomfort and wonderment that no one was there to greet us. 
Suddenly there piped up a thin little voice seeming to come from 
nowhere. It grew louder and stronger, and we heard ' ' Merry 
Christmas, merry, merry Christmas. Welcome, Mr. Openeer ; 
we are glad to see you. Welcome, Mrs. Openeer ; how is the 
baby? How did you leave Ponjo?" (Ponjo is our dog). We 
looked around bewildered. The voice continued : ' ' Take off your 
wraps ; lay them on the table. James will see them safely laid 
away." Astonishment gave way to curiosity, 
and we drew aside a curtain and found the 
cheery speaker to be — a Phonograph. Then 
through a half-open door we heard whisperings 
and merry laughter as the uncanny little 
machine went on to sing for us a Christmas glee. 
Before it was finished the children of the house 
came running in laughing, followed by our 
hostess and the other guests ; and we saw and 




136 



HANDBOOK OF THE PHONOGRAPH 




felt heartily the double welcome that had been prepared for us. 
The surprise had all been planned. Our host had talked and 
sung this Christmas greeting into the Phonograph the night before, 
making a ' 'record" with which the jolly little machine could 
greet each guest as he arrived. We saw it all when Jack Halsey 
and his sister came, about five minutes later. "Here comes 
Jack," called one of the children from the porte 
cochere window ; and hastily adjusting the wax 
cylinder ticketed ' ' Halsey, ' ' we waited in the 
dining-room and den with half-open doors as 
they entered. "Hello, Jack," said the Phono- 
graph behind the curtain, "How d'ye do, Clare? 
Glad to see you. Come in and stay a while.' ' 
They stopped and stared around, bewildered 
just as we had done. "Take off your things. 
Merry Christmas." And then, without stopping, the wonderful 
toy began to play the banjo. Then, we, all of us burst in upon 
the astonished pair, and welcomed them amid shouts of laughter. 
The thing entertained us all next day. When we tired of 
hearing our own voices fired back at us, we played the piano for 
it. Then we made a quartette of ban joists : 
then our host played the cornet ; then we sang — 
solos, duets and choruses ; and the ' ' bally little 
mocker," as Algy Dunraven called it, gave us 
every time as good as we gave it. Why, it was 
perfectly wonderful ! 

Then we were entertained with boughten 
records. Selections by famous bands and 
orchestras, operatic, military marches and dance 
music, all in perfect time, and loud and clear. 
Songs by famous singers, speeches by famous men, funny talks 
and dialect records. Why, we spent a delightful time. Our 
host told us confidentially that had he engaged the artists, per- 
formers and bands to appear in person, a thousand dollars would 




WHAT MR. OPENEER HEARD 



137 




have been a reasonable price for the entertainment that 
was provided for less than a tenth of that sum. And, 
best of all, he could repeat the whole programme the 
very next night if he wanted to. And we believed 
every word, because we heard it all ourselves. 

I have since bought a Phonograph for myself ; 
and have been repaid a hundred times for the invest- 
ment, by the fun and entertainment I've got out of it. 
My advice to my friends is, ' ' Go and do likewise. ' ' 
My wife called on our next door neighbor the other day to 

sympathize with her over the loss of their eight-year-old boy. 

They had bought a Phonograph, by the way, immediately on 

hearing ours. Well, the conversation naturally was about the 

dear little fellow who had just crossed over the Dark River. And 

she could not stop talking to my wife about his pretty eyes and 

curly hair hair and laughing voice. 

"It's one of the greatest consolations 

that I have these," she said, going to 

her record cabinet ; and carefully tak- 
ing from it three of the wax cylinders, 

she put one on the machine. The 

next moment it was as if Harry was 

in the room. First came his merry 

laugh, then an aside. "Dear mamma, 

do keep quiet while I speak my piece. ' ' 

voice, clear and strong : 

" A tiny little seed am I, 

In the mold, 
Hidden from the great blue sky 

And the cold. 
I throw my little rootlets out 

And feel around. 
There ! I almost turned about 

In the ground. 
Did I hear a bluebird sing ? 

Can it be? 
If I did it must be spring. 

I'll go and see." 




Then came a steady little 



138 



HANDBOOK OF THE PHONOGRAPH 



Then there sounded a clapping of hands and bits of conver- 
sation. His mother sat there with tears in her eyes, but with 
a joyous look on her face. ' ' My precious first born," was all she 
said. And one of the first things my wife did when she came 
home that afternoon was to take our poor little youngster and 
make half a dozen records of his chatter and baby-talk right away. 
I fancy him listening to those "talks" twenty years from now ! 
Eut should he be taken from us in the meanwhile, I know I'd 
hold them as my most highly-prized possession. 

I heard of a novel use for a Phonograph the other day. 
Teaching languages — what do you think of that ? My wife told 
me about it. Somewhere in her afternoon calls she saw the whole 
thing. There was a Phonograph grinding off a French cylinder 
that had been specially prepared by the visiting 
teacher the day before : "J' al > tu as, il a, elle a, 
nous avons, vous avez, ils ont, elles ont," over 
and over and over. Then, " Avez vous le pain, 
avez vous le pain, ' ' and so on through a long list 
of words and phrases. Parrot like, perhaps, but 
there was the pronunciation and accent. Capital ! 
The children couldn't get away from it. Then 
came a German record, "Der die das. des der des, 
dem der dem," and so on. The broad a, the 
short i, the funny b in Konig, the elusive and 
difficult umlaut. ' ' Haben sie das brod. Wo ist mein Hut ? Ich 
Hebe dich," and little poems and couplets. 

" Man sieht sich, lernt sich kermen, 
Liebt sich, muss sich trennen." 

Rather advanced for children, this; but I suppose their teacher 
was in love and felt a bit sentimental just then. 

' • Ein verhungert Huhnchen fand 
Binen feinen Diamant 
Und verscharrt ihn in den Sand.'' 




WHAT MR. OPEN3ER HEARD 



139 




This was better. But the whole idea struck me 
very forcibly. The difficult pronunciation was there 
— always on tap — over and over, sinking deep into 
the minds and memories of the little youngsters, 
and especially so because it was a novelty. Ah ! 
that's the point. New ideas appeal to children just 
as much as to "grown ups." 

I look forward to the day when a great many 

other things besides the languages will be taught through the 

aid of this marvelous little talking-machine. 

While the field of the Phonograph is a wonderfully large one, 

yet it reaches its limits, like everything else in 

this world for that matter. The recent attempt 

of the Sophomores of Ithaca to give their ora- 
tions by talking machines was very laughable. 

The Professors found out what was in the 

wind and promptly vetoed it, but not before 

several rehearsals had been held to demonstrate 

its feasibility. The Freshies found it out, too, 

and invaded one of their trials with pitchers of 

water, which they poured into the Phonograph 
horns with dire results. The practicability of 
the scheme is assured, however, and some 
day we may hear of a commencement con- 
ducted entirely by machine talkers. 

This reminds me of an occurrence that 
happened several years ago, when the Phono- 
graph was first brought out. A very advanced 
Dominie at Hasbrouck Heights, N. J., con- 
ceived the idea of a novel Sunday evening 
service ; so he prepared his sermon — a short 
one — and several hymns and scripture readings 





140 



HANDBOOK OF THE PHONOGRAPH 




the day before on a number of cylinders ; 
and he actually held the meeting, "as 
advertised." The affair created quite a 
sensation indeed. Inside of a month the 
Rev. Mr. Dominie was preaching in a 
church out West, — preachings mind you, — 
no more Phonograph for him. Well, it 
simply proves the truth of the saying, 
" Everything in its proper place." 

The Phonograph for dictation in business 
offices has long been a success. Instead of 
of talking to a giddy and unreliable young 
lady stenographer (not all of them, I assure 
you, O ye wives of busy husbands, but some- 
times—quite often), the letter is talked, just 
the same, into the specially prepared cylinders, 
until a dozen or so are ready for the typewriter 
clerk. Then he is called from his work and 
transcribes the records at leisure. See ? He 
is working all the time while you are 
dictating. With hearing- tubes in his ears, 
he puts each cylinder on another Phono- 
graph in front of his typewriter, and pegs 
right along. There's no loss of time. 
He is always working and he's much 
cheaper than a "stenographer and type- 
writer." The experiment has been tried 
also, with some successs, of sending the 
record, just exactly as you've talked into 
it, by mail or express, directly to your corrrespondent. 

It has remained for Mrs. Openeer to discover the most novel 
use for the Phonograph as an entertainer. She gave a ' ' Voice 
Guessing party ' ' last week, and we had all kinds of fun and 





WHAT MR. OPKNEKR HEARD 



141 




jollity over the funny guesses. It's somewhat similar to a 

"Perfume Party." You know how that's done. Twelve or 

fifteen little vials, all alike as to appearance, are filled with differ- 
ent perfumes. It adds to the perplexity of the guessers to include 
vinegar, alcohol, benzine, turpentine, chloro- 
form or kerosene. Then the contestants smell 
and guess, and the winner of the prize is the 
one who has the longest correct list. My wife 
conducted her party on a similar plan. Kach 
guest made a three minutes' talk into a 
Phonograph in separate rooms (we borrowed 
two other machines for the evening), and 

■ttf f H after every one had talked or sung, either in 

natural voice or disguised, we played the 

records before all the assembled guests. 

Kach was provided with paper and pencil. 

The scheme was immense. You can 

imagine the hilarity that greeted the wild 

guesses when the results were declared. 

A surprising number of the voices were 

guessed correctly, however, and the 

entertainment was voted by all to be a very happy success. 

I tell you, my friends, it takes a Phonograph 

every time to be a fun-maker. 

I represent a chemical syndicate. It's a 
far cry from sulphuric acid and by-products 
to Phonographs, I know, but you will see 
the connection presently. There's a town 
I strike when I'm on the road where there is 
a most unique collection of stories: unpublished 
unbound, 3^et indestructible, and most carefully 
preserved. The genius who is making the collection does business 





142 



HANDBOOK OF THE PHONOGRAPH 




in Iyouisville, what street I won't say, 
and whenever a drummer shoots a good 
story at him he says, ' * Hold up — come 
here," and then and there, on the spot, 
he embalms Mr. Drummer in wax ; and 
like a fly in amber, his funny tale is 
preserved for all time. I've sat by the 
hour listening to stories ; and such 
stories. Cylinder after cylinder, every 
one different. Kvery now and then I'd 
recognize a fellow knight of the road ; some I 
hadn't met for years, some dead. I do not 
hesitate to say that Mr. Blank's collection of 
stories hasn't an equal in the whole world. 
Some of the mildest of them, revised and 
expurgated, are often heard in vaudeville ; 
but for the most part, the ' ' Louisville records " 
are to be heard only by the favored few who 
are in the ring. I have lately heard of other 
collections, but none to equal that of the 
pioneer, Mr. Blank. 

I told my wife about Blank's collection 
the last time I made home after a three week's 
flier, and gave her a sketch — very sketchy, 
indeed — of some of the yarns. She said, 
' ' Capital idea ! ' ' and before I knew what she 
was about she started what is now known to 
my friends as "Openeer's Voice Album." 
As a novelty, it proves very interesting to 
visitors, and bids fair to be as popular as the 
old-fashioned autograph collections, and, in fact, supplements 
that and the photograph album most beautifully. We limit our 
friends to a half-minute's talk, first announcing the name and 





WHAT MR. OPKNEKR HEARD 



43 




following with a funny short talk, or a touch- 
ing sentiment, or a bit of poetry ; and really, 
we have a delightful way of entertaining our 
guests, as any one who has made Phonograph 
records for friends well knows. 

The hot and bloody work before Santiago, 
in Cuba, has made one of my wife's Voice 
Album records of inestimable value. Young 
Smith, of the 71st New York, was my 
cousin, and was among the first to try the effect of his voice on a 
wax cylinder. His name comes out loud and clear, and then 
these words : 

"Of all the fish in sea or lake 
The bloomin' codfish takes the cake." 

Its funny, but it's sad too ; for poor Smith 
was shot through the lungs with a Mauser 
bullet and died seven days afterward. 
When his father learned of the record we 
had of his voice, he bought the finest, 
most expensive Phonograph to be had ; and 
we gave him our cylinder, taking several 
copies or duplicates of it for ourselves and 
his friends. This is easily done, you know, 
by connecting the ' ' speaker ' ' from the 
Phonograph that is playing the original to 
the ' ' recorder ' ' of 
another machine, 
on which is a smooth 

blank. Of course, this copy is a little 

indistinct — all duplicates are. The 

original Edison records such as you buy 

are always the best. But the copies we ^ 





144 



HANDBOOK OF THE PHONOGRAPH 



made were plain enough for us to distinguish Bert's voice, and 
we are proud of it, I can tell you, not only for the satisfaction 
of having a hero record in our collection, but also that we 
were able to be of service to his father ; for the old gentleman 
holds that cylinder as one of his choicest possessions on earth. 




CHAPTER II. 



How We Gave a Phonograph Party. 



IT was Charlotte's plan. The idea struck her suddenly (they 
always do come to her that way) during an evening we 
were spending over at the Openeer' s. Young Mrs. Openeer 
had asked us to dine with them and play whist ; but after dinner 
Mr. Openeer started one of his Phonographs so that we could hear 
an opera we had been talking about, and cards were entirely for- 
gotten. It was delightful. They had lots of the wax records — 
almost a complete score of the opera in question. The talk 
naturally turned on how it was all done, for it seemed perfectly 
wonderful. So he showed us all about it, and that's how Char- 
lotte's inspiration came. 

1 ' I have it, I have it ' ' she whispered excitedly the moment we 
left the house, and she almost pushed me down the steps in her 
eagerness. ' ' We will give a Phonograph Party, and it will be 
the newest and most delightful thing out, ' ' and she straightway 
unfolded the whole scheme as we crossed the street to our house. 
By the time we had climbed up to our room the schedule was 
complete. I must say that Charlotte is a quick and ready thinker. 
Her plan was fine. You see she teaches mathematics in the high 
school, while I have only a kindergarten class. She thought the 
idea and I completed the practical arrangements ; and between us 



146 



HANDBOOK OF THE PHONOGRAPH 




we planned an. entertainment 
which I am sure will be long 
remembered by our friends as 
a very happy evening. 

We sent out our invita- 
tions the very next day, for 
Wednesday evening of the 
following week. To Beverly 
Dunlap's we added a line 
"Bring your cornet.' ' To 
Alice Blank's "Please bring 
your banjo. Will Hamilton's 
also had a ' ' banjo ' ' postscript, 
and Nat Browton's a "clari- 
net" item. Charlotte had a 
violin and I a guitar, which, with the piano (fortunately an 
upright), would give a variety of instrumental music for the 
occasion. In each of the other notes, we wrote- the mystifying 
words " Please bring your voice." 

To Mr. and Mrs. Openeer's invitation Charlotte insisted on 
adding (as a matter of form only she explained to me), "Please 
bring your Phonographs ; " for we had already enlisted their co- 
operation, and Mr. Openeer had entered into our plan with en- 
thusiasm. He loaned us not one, but two Phonographs ' ' for 
convenience sake," said he, "one for recording and one for 
reproducing. Saves the bother of changing speakers and horns. ' ' 
He also insisted on furnishing us with a plentiful supply of 
smooth wax cylinders or blanks as they are called ; at the same 
time offering us his services as an expert should we need him. 

The next few days saw us busy at every spare moment. 
First we tried and experimented in every possible way with the 
Phonograph, making record after record, until we found out just 
how to do it. It's wonderfully simple if you only know how 



HOW WE GAVE A PHONOGRAPH PARTY 



147 




(like everything else in this world for 
that matter) . Mr. Openeer offered to 
teach us, but we wanted to find out 
all by ourselves ; and we did very 
nicely by following the printed in- 
structions which he furnished us. 
Then we had refreshments to prepare. 
Charlotte gave way to my ideas in this 
matter, and my kindergarten training 
suggested that we get some jelly 
glasses that were just the right size, 
two and a half inches across and four 
inches deep. Into these, we packed 
our ice cream after we had made it, so that each guest 
should have a " frozen record" just 
like that great fib of Baron Mun- 
chausen's. We also made ginger snaps 
in the shape of a horn, by fashioning 
a cake cutter out of a strip of tin. All 
our plans matured beautifully, except 
that Charlotte scorched two whole 
pans of ginger snaps, and let some 
salt get into the ice cream tins; 
Charlotte was never good at those 
things. 

Bvery one of our guests came on 
Wednesday evening ; every one of 

them as curious as an original Eve (or Adam) and every one 
of them delighted on learning what was in prospect. We com- 
menced right away with the cornet. It makes a fine loud record, 
and we wanted to start off auspiciously. We had placed our 
Recording Phonograph high up on a small table, so that the horn 
was about on a level with Mr. Dunlap's head, as he stood ready 
to play. The shape of the horn, too, makes some little difference. 




148 



HANDBOOK OF THE PHONOGRAPH 




Mr. Openeer loaned us his recording horn for our party. It was 
fully two feet long and shaped like a cone. 
It had no flare or bell on the end, which 
was about 6 or 7 inches across. Our equip- 
ment was really quite perfect. The second 
Phonograph stood on one end of the large 
table and was fitted with a reproducing dia- 
phragm or speaker as they call it. It also 
had a small fourteen-inch bell shaped horn, 
which shape seems to spread the sound 
better than the other. I attended to the 
machine, put on a new blank and started it, 
while Charlotte started each performer. At 
the close of each record taking, I stopped 
the machine, took off the record and put it 
on the reproducing Phonograph, and we all heard what had just 
been played into the other machine, reproduced with startling 
and marvelous exactness. 

I will say right here that a single Phonograph with two 
speakers and a bell shaped horn would have been all that was 
absolutely necessary. The only advantage of having two Phono- 
graphs was that it saved the delay (a very small matter) of 
changing the recording speaker for the reproducer after each 
record was made. 

As directed by Charlotte, Mr. Dunlap stood about five feet 
away, and played directly into the horn. He gave a short aria 
from ' ' Maritana, ' ' playing it with considerable volume and with 
even, well sustained notes, with but little attempt at expression. 
He used only half his record in a minute and a half, so Charlotte 
whispered " Do you know any bugle calls?" (Dunlap was in 
camp at Jacksonville all through the war). His laughing answer 
" Do I know any bugle calls by heart ? well, rather! " made us 
all laugh too. It was wonderful the way he made his cornet 
fairly talk. 



HOW WE GAVK A PHONOGRAPH PARTY 



149 



" I can't get 'em up 
I can't get 'em up 
I can't get 'em up 
In the morning. ' ' 

His attempt ended in a storm of applause, which was repeated 
a few minutes later when I changed his record to the other Pho- 
nograph and reproduced it. First came the aria, loud and clear 
and distinct. Then a pause of a few seconds. Then a big manly 
voice said " Do I know any bugle calls by heart ? Well, rather." 
How we all shouted! It did sound 
so funny. Then came his bugle call 
and a faint clapping of hands and 
then our real applause. Our first 
record was a success ! 

Then Nat Browton played his 
clarinet ; and the reproduction was 
so perfect that we could actually 
hear his breathing. Those quick 
little gasps for breath that I for one 
had never particularly noticed, un- 
til the reproduction of the record 

called it to my attention. He played directly into the horn, 
as close to it as he could. 

Then we had several vocal solos. Each singer stood close to 
the horn, with the face almost within the opening. Charlotte 
cautioned them all to sing rather loud and be particularly careful 
to draw back the head while taking any high notes. Our bass 
and baritone artists made highly successful records. Our tenor 
sang " The Holy City " most beautifully, but his voice lacked 
that peculiar quality necessary for Phonograph record making. 
The tones of his voice were like the invisible rays of the spectrum 
beyond the violet ; it seemed impossible to record them. Char- 
lotte discoursed learnedly about the number of vibrations per 




and 



i5o 



HANDBOOK OF THE PHONOGRAPH 




second caused by his high C — about a thousand I think she said. 
Mr. Openeer lessened his discomfiture by remarking that a 
Phonograph tenor was an exceedingly rare phenomenon. "As 
rare as a Phonograph soprano ' ' he added bowing to Mrs. Openeer 
who was our next performer, ' ' and although my wife has a 
beautiful voice I have never yet 
taken a really good record of it. ' ' 
We made a passably fair 
record of Mrs. Openeer' s fine 
soprano voice by draping the 
opening of the horn with mos- 
quito netting; but it wasn't 
real good and we had to put it 
in the same class with the 
tenor' s ; and also with Charlotte' s 
violin record, which came next 
on the programme. The amateur 

will do well to avoid the sorrow that is almost inevitable in at- 
tempting to make a record of a high tenor, a soprano or a violin. 
The most effective records we made during the entire evening 
were two chorus records. All stood close together in a bunch 
about three feet from the horn and sang " Marching through 
Georgia, ' ' and it came out fine. Our success led us to try another, 
' ' Onward Christian Soldiers, ' ' and it was every bit as good. The 
piano accompaniments of all our records 
were very good indeed. In every case the 
piano stood about three feet distant, with its 
open back towards the Phonograph. A 
square or a grand piano is not so well 
adapted for this accompaniment work, al- 
though a solo may be recorded very nicely 
by bringing the horn close up to the raised 
cover of the instrument. 




HOW WE GAVE A PHONOGRAPH PARTY 



151 



We now removed our Recording Phonograph from its lofty- 
perch, to accommodate our banjoists and also those of our guests 
who were to make talking records, and preferred to sit rather 
than stand. The banjo should be played as close to the horn as 
is possible. We made several capital records, so loud and natural 
as to tone quality that I would defy anyone listening with eyes 
shut or in the next room to tell the difference. 

The talking records were mostly all good too. The per- 
formers were cautioned to speak very distinctly, sounding the S's 
and soft C's with particular emphasis. Some of them caused lots 
of merriment when they were repro- 
duced, owing to the funny and irrelevant 
side remarks of the speakers ; most of 
whom had never talked into a Phono- 
graph, and seemed to forget that the 
machine would catch and repeat all that 
was said. 

Last of all came the ginger-snap 
horns and the ' ' frozen records. ' ' The 
tenor declared that these were the best of 

all. He may have been perfectly honest 
(for they were real good) or it may have 
been gross flattery ; or yet again his fail- 
ure may have made him a little jealous 
of the others. But, somehow, I didn't 
exactly like his remark. I think on the 
whole, while perfectly polite and courte- 
ous to Charlotte and me, his hostesses, 
what he said simply proved the proverb, 
"the way to a man's heart is through 
his stomach ;" for the rest of us agreed, 
not even counting in our "frozen 
records," that our Phonograph Party 
had been a grand success. 





CHAPTER III. 
The Secret of Making Phonograph Records. 



THE secret of making Phonograph records is summed up 
briefly as follows : — experience and knowledge of the Art. 
The two go together. One is useless without the other. 
What I know about it has been the result of a great deal of 
experimenting (such as you must do) combined with many 
useful hints and pointers and suggestions gathered from practical 
Phonograph men (which I propose to tell you). You will then 
know all that I know, which, after all, isn't so much. What I 
don't know about it would fill books ; a negative way of express- 
ing my modesty, perhaps ; but, as in photography, the negative 
prints the positive, so will my negative assertion serve to bring 
out more clearly the details of that greatest of Phonographic 
problems — the making of a perfect record. 

Let's talk about the Recorder to begin with, for that is the 
heart of the whole matter. Your recorder must be perfectly 
adjusted and adapted for the particular kind of record you are 
taking. This is largely a matter of judgment and experience. 
Certain musical instruments and certain qualities of voice, will 
record with a squeak or a blast when a glass diaphragm of a 
certain thinness is used, and yet will record perfectly if a thicker 
or thinner diaphram is substituted. Recorders are usually 



THE SECRET OE MAKING PHONOGRAPH RECORDS 153 

equipped t with a No. 7 to a No. 8 diaphragm ; that is to say the 
glass is from 7-1000 to 8-1000 of an inch thick. The rubber 
washers between which the diaphragm rests, may have become 
hardened. Rubber does, you know, get either hard or sticky in 
time. This interferes with the free vibration of the diaphragm, 
and consequently affects the clearness of the record, and new 
washers should be substituted. In changing washers or diaphragms 
the metal clamp-ring should not be screwed in too tight, nor yet 
left too loose. If too tight, the diaphragm ceases to be sensitive. 
If too loose, the record will whistle or blast. There is a happy 
medium which you must discover for yourself. See also that the 
tiny metal arm is cemented firmly to the center of the glass ; if 
not, you will get a dull, rasping quality of sound that is very 
unnatural. The sapphire recording point must have a sharp even 
surface, that it may readily engrave the surface of the cylinder. 
Great care should be taken in handling or laying down the 
recorder, that the sapphire stylus does not come into contact with 
a hard surface of any kind. A chipped stylus is a frequent cause 
of poor records. I mention these points in detail as it is of the 
greatest importance that you become familiar with them. You've 
got to know the tools you work with ; and especially the glass 
diaphragm, which is the most delicate and sensitive part. 

Now, as to the various diaphragms to use. In making vocal 
records, it depends entirely on the strength of voice of the singer ; 
varying all the way from an 8 down to a 6 glass. The thinner 
the diaphragm, the more sensitive it is. Take, for instance, a 
singer with a good loud voice. Use an 8 glass. Should the 
record not come out strong and if it has no blasty defects, try a 
7^, then a 7, or even a6^. The moment the record blasts, your 
diaphragm is too thin and over-sensitive for the voice. ' ' If at 
first you don't succeed, try, try again !" It is a very apt motto to 
adopt in record making. 

For a cornet, use an 8 or a 7 glass. Use an 8 or a 7^ for a 
band record or an orchestra record. For a clarinet, try a 7 or 



154 HANDBOOK OF THE PHONOGRAPH 

a 6. For a piccolo a 6. For a banjo or xylophone record a 6 
or a 5. For a violin, a6^ down to a 5. For talking records, 
use a 6 glass. 

Upon the shape of your horn, also, depends in a great measure 
your success as a record maker. The horn should be pointed on 
the level with the head of the performer. In other words, the 
Phonograph itself should be about on a level with the head. 
The best results for talking records are obtained by using the 
mohair speaking tube. If the peculiar quality of a speaker's 
voice should make the record sound muffled, try the bell-shaped 
14-inch brass horn with which most Phonographs are equipped ; 
or the 26-inch japanned tin horn may also be used with good 
effect. It all depends on the quality and loudness of the speaker's 
voice. The 26-inch japanned tin horn is also a good shape to use 
for banjo, violin, xylophone, cornet, band and orchestra records ; 
although a regular special recording horn would be better. These 
special horns are made of block tin, long and narrow in shape, 
being from 20 to 26 inches long and not more than 6 inches across 
the end, perfectly conical in shape, with no flare or bell on the 
end. They are the very best shape for all vocal records, and also 
for the piccolo or clarinet. While good records may be made 
with the regular shape 26-inch japanned tin horn, it is best not 
to take any chances. In making records, strict attention must be 
paid to the smallest details. The veriest trifle will sometimes 
spoil the best attempt. 

Next, the wax cylinder should be perfectly smooth and true. 
Much depends on the absolute smoothness of the wax blanks. If 
you do your own shaving, run the machine at the highest pos- 
sible speed ; and do not cut too deep. If you do, it causes the 
wax to chip, leaving a broken crackled surface on which a good 
record cannot be made. Shave several times in preference to one 
deep cut. The Edison blanks you can buy already shaved are 
superior to any possible work you can turn out yourself, as they 
are shaved by a special machine running at a very high rate of 



THE SECRET OF MAKING PHONOGRAPH RECORDS 1 55 

speed and are absolutely accurate. Be very careful in handling 
the shaved blank, that no finger marks are left on its surface. 
Should there be any residue of the shaving operation left on it, 
take the cotton in which the blank is wrapped, and tear open one 
end, picking out the frayed edge to make a soft brush, and brush 
the blank gently, with a downward motion. Don't breathe or 
blow on the surface to remove the wax dust. Better still for this 
purpose is a soft wide camel's hair brush. 

Lastly, see that your Phonograph itself is in perfect running 
order, well oiled and free from dust. This is an essential to 
perfect work with any piece of machinery, and the Phonograph 
is no exception in this respect. Any undue friction will make a 
grind or rumble, and will seriously mar your attempt by making 
itself heard in the record you are making. If the machine makes 
discordant records, or false tones, it may be that the belt is loose, 
thus causing the main shaft to slip. If your Phonograph is an 
electric machine, the governor contact may be dirty. Care should 
be taken if you use a machine of the spring motor type, that 
the mechanism is always fully wound. A record made while the 
machine is running down will reproduce with a varying pitch, thus 
destroying all harmony. The proper speed for recording is about 
125 revolutions per minute. This is easily ascertained by watch- 
ing the screw on the pulley, and counting and timing the turns. 

As to the room in which you take your records, it might be 
well to have no curtains or other soft hangings. In a perfectly 
bare room, with no carpets or furniture or draperies, a record will 
have a certain ring to it, a peculiar resonant quality of sound that 
some prefer. One objection to stripping a room in this manner, 
is that there is a greater likelihood of your records blasting. On 
the other hand a " seasoned," room with just enough hangings to 
break up any echoes, makes a richer, more mellow tone quality. 
This is largely a matter of individual taste and judgment ; and 
can only be determined by experimenting and watching results 
very carefully. All these are points that may seem to be un- 



156 HANDBOOK OF THK PHONOGRAPH 

important, but if you are after success, you cannot afford to omit 
the smallest detail that might help you to secure the most satis- 
factory results. 

And now for the record. If a vocal solo is to be recorded, 
the singer should stand immediately in front of the recording 
horn, not more than three or four inches from the opening, and 
should sing directly into it. The articulation should be very 
distinct. Avoid singing with too much expression. That voice 
will record best that has an even quality throughout the entire 
register. Some voices are full and rich and mellow in the lower 
notes, and thin or weak in the upper register. In all cases, 
choose the songs that are best suited for the singer's range of 
voice. When a high note is sung, the singer should draw back 
the head, away from the horn, so as to equalize the vibrations. 
Hither do this, or repress the voice so that the tones are covered. 
Should the singer make a very strong and loud record, with a 
blasty imperfection in only one or two spots, keep the same dia- 
phragm, and try to remedy by drawing away from the horn at 
the high notes that blast ; in other words, correct the blasting, 
if possible, by covering the objectionable tones rather than by 
substituting a thicker diaphragm, which might make the whole 
record weak. In general, the tones that cause the defect of blast- 
ing are open tones, the long " i " sound, the " o " as in " love '■ 
the word ' ' heart. ' ' These tones occurring on high notes, almost 
invariably cause trouble, even with experts in the art. Scientists 
estimate that there are over a thousand sound waves per second in 
in the high C of a tenor. To record high notes accurately and 
naturally is very difficult, on account of the exceeding rapidity of 
of the vibration. A soprano high C being an octave higher is 
still more difficult to record. In fact, women's voices are the 
least satisfactory records for an amateur to attempt, on account 
of the great amplitude as well as the rapidity of the vibrations. 

In making talking records, speak naturally, but with energy. 
Do not force the voice too much. Articulate plainly, sounding 



THE SECRET OF MAKING PHONOGRAPH RECORDS 157 

the s's and c's with particular distinctness. In using the speaking 
tube, the lips should just about touch the mouth piece. With 
the 14-inch horn, or the 26-inch japanned tin horn, the speaker 
should be from two to four inches away. Experiments will prove 
the proper position for each speaker. In making tests, announce 
upon the record each change you try, so that the effect of each 
experiment may be traced when the record is reproduced. 

If a piano is used (and all musical records are vastly im- 
proved by a piano accompaniment), it should be an upright, with 
the back of the instrument as close to the horn as the position of 
the performer will permit. This again is a matter of judgment, as 
some pianos are so much louder than others that they may be 
placed farther away, up to three or four feet. With a square or 
a grand piano, it is difficult to get real good results unless the 
cover of the instrument is raised at an angle (so as to act as a 
sounding board) , and the horn placed very close. For vocal duets 
and quartettes, the singers should stand with their heads as close 
together as possible, directly in front of the horn. Good records 
of choruses are not easily made, as the greater the number of 
singers, the more complicated do the sound waves become. In fact, 
a single voice or a single instrument will produce every time the 
loudest record. The cornet is the best instrument for the amateur 
to commence with; it should be placed from four to six feet away. 
Watch the high notes carefully, or the record will blast. The 
scheme of ' l flagging, ' ' high notes is a good one. Whenever such 
high notes are played, lower a silk handkerchief in front of the 
horn. But better still, have the player enter into intelligent co- 
operation with your efforts, and by repressing certain notes, he 
can aid you very materially. The most successful Phonograph 
singers or performers are those who watch results as carefully as 
the record maker does himself and regulate their efforts accord- 
ingly. They must realize every moment that they are making 
records for the Phonograph, and not singing for an audience. 
Evenness of tone is what tells. 



158 



HANDBOOK OF THE PHONOGRAPH 



A piccolo or a clarinet should be within a foot of the record- 
ing horn. A violin or banjo as close as possible. Banjo duets 
make especially loud and clear records. A guitar or mandolin does 
not give satisfactory results. A xylophone should also be as near 
as possible, with the upper octave closer to the horn than the lower. 

In making band or orchestra records, place the bass instru- 
ments, (such as tubas, altos and trombones) at a distance of five 
feet from the horn. These instruments all give tones having slow 
vibrations, and consequently must be nearer the recording dia- 
phragm to balance the other instruments having a greater energy 
of tone vibrations. Cornets should be at the greatest distance, 




about fifteen feet. Place the other instruments in between ; pic- 
colo, five or six feet from horn ; clarinet, seven feet. Better omit 
the bass drum. It is likely to spoil the effect, as it does not 
record well. If it is possible, have the cornets on the back row 
well elevated, so that the performers in front do not cut off or 
block the sound. In fact, it is well to elevate even the piano 



THE SECRET OF MAKING PHONOGRAPH RECORDS 159 

about two and one-half to three feet from the floor, so that it may 
be on a level with the recording horn, which, as before stated, 
points level with a singer's head. For record making at home, 
where it would not be an easy matter to do this, the performers 
should sit rather than stand, so that the piano accompaniment 
records with a true relative value to whatever it accompanies. 

As previously stated, experience in the art of record making 
is the best teacher. The above instructions merely outline the 
principal points to be observed. Follow them carefully, and give 
particular attention to the minutest details, as very frequently the 
smallest trifle will spoil what would be otherwise a highly sat- 
isfactory record. 



CHAPTER IV. 
The Phonograph as an aid to Language Study. 



THERE are two ways of learning a language. One, the 
University method of studying from a literary standpoint ; 
learning the grammar, learning to read but not learning 
to speak ; in other words, through the eye. 

The other way is through the ear ; the natural method. Mark 
Twain has told us what a wonderful country France is. ' ' Why 
even the children speak French." This sage reflection, however, 
does not avail those of us who, though fortunate in being born 
Americans, yet wish to speak the tongue of Johnny Crapaud with 
pure native accent. So, unless we go to Paris, we rely on a 
teacher, whose excellence of method and accent shall prove either 
our making or undoing as the case may be. 

The conversational system is generally conceded to be the 
best ; yet some teachers carry out this idea so far as to claim not 
to teach the grammar. Both methods have their advantages and 
weaknesses. The two methods may be combined by the use of 
the Phonograph, in such a way as to learn the grammar at the 
same time while learning to speak by hearing the Phonograph 
speak. This is really the ideal method. 

Every one knows that the secret of learning to speak in 
foreign tongues is to hear the language constantly spoken. The 
way to learn French, is to "go to Paris." The next best thing 



THE PHONOGRAPH AS AN AID TO LANGUAGE STUDY l6l 

is to have a teacher constantly with you, to talk whenever you 
desire and say just what you wish to hear, repeating as many 
times as wanted and no more ; a teacher that never gets tired and 
does not have to be paid. 

The great adaptability of the Phonograph for this sort of 
work is readily apparent to any person understanding the machine. 

In learning any new subject, art, science or business, particu- 
larly languages, it is always a matter of surprise to consider the 
small number of leading principles constituting the frame-work of 
the entire subject. When these principles are acquired, the 
whole subject becomes an open book. This idea is strictly illus- 
trated in language study. A vocabulary of iooo to 2000 words is 
sufficient to cover all ordinary intercourse. A few ordinary pages 
will contain all these words and they will go on eight Phonograph 
cylinders, allowing 250 words to each cylinder. If these are 
placed on a Phonograph and run across consecutively, without 
stopping, it would only require about half an hour to hear them 
all. Think of it ; all the words that you would require to know 
of any foreign language could be spoken in half an hour. 

But, these words cannot be learned by rote. They must be 
learned in combinations of sentences, with changes in construc- 
tion, according to their grammatical connection. The best way to 
learn them is undoubtly to hear them spoken constantly in these 
combinations. 

Take any lesson from any language text-book, for example, 
French, German or Spanish ; let the reading or conversation exer- 
cise in the foreign tongue be dictated to the Phonograph by a 
native voice. 

If the pupil is studying with a teacher, so much the better. 
Now after the lesson is over, and the teacher has dictated the 
lesson, let the pupil go home and listen to that cylinder before 
he retires, listen several times, until he gets tired. Then, the first 
thing next morning upon rising, start the Phonograph talking 
and let it talk while dressing, — killing two birds with one stone. 



1 62 HANDBOOK OF THE PHONOGRAPH 

He can listen to that record seven or eight times in the morning, 
without apparently consuming any time. Let him take another 
lesson in French from the Phonograph when he comes home at 
night, two or three turns of the cylinder whenever he has the 
opportunity. Every word on that cylinder will, in a remark ably 
short time, be committed to memory and so indelibly stamped 
upon the mind that it becomes like his native tongue. He can 
soon reproduce in the exact tone of voice, accent and inflection of 
the machine — and what the machine teaches him will be a faithful 
reproduction of what the teacher has spoken into it, without the 
slightest variation from his pronunciation. This is simply an 
ideal method. 

Let the pupil take three or four pages of conversation in this 
manner and listen to it daily between lessons, repeating it over 
after the machine, imitating the accent given by the machine. 
When he goes for the next lesson the teacher will be surprised at 
the readiness with which those sentences will flow from the pupil's 
lips. 

Having learned the words in those sentences, it is an easy 
matter to adapt them to other sentences. 

Any teacher of languages can put the lessons from any text- 
book upon the machine in this manner, for the benefit of the 
pupil. Of course, it is better if a special book is used, prepared 
by a teacher who has given thought to this method of study. 
There is prominent Professor in New York, who has done this. 
He has been using the Phonograph in teaching French and Span- 
ish for the past ten years. Both his Spanish and his French books 
are designed for this purpose and all his teaching is done in this 
manner. Pupils use his book, who do not use the machine, but 
if they desire to use the machine in connection with it, there is 
the book and the system already prepared. The Professor fur- 
nishes cylinders in Spanish dictated in his own voice. In French 
the cylinders are dictated by a native Frenchman. 20 lessons com- 
prise the course, covering all that is contained in the book. 



THE PHONOGRAPH AS AN AID TO LANGUAGE ©TUDY 1 63 

When a student can talk fluently everything that is upon the 
Phonograph in those twenty lessons, he knows enough of the 
language for all ordinary purposes. By having these records and 
a machine in his own home it is only a question of listening to 
them all, faithfully for a short while, until they will be learned. 

The pupil sits at the Phonograph with the open book before 
him. He sees just what the w r ord is, printed in foreign tongue, 
with the English translation underneath it. He has previously 
read or studied what the book says about the pronunciation of the 
letters, accents, the construction of the sentence and the gram- 
matical form. Then, having these things in his mind, he listens 
to the sounds by hearing the machine speak them. Thus he culti- 
vates the eye and ear at the same time. Then he imitates the 
machine and tries to pronounce the letters and the words exactly 
as the machine pronounced them. He is not afraid to say them 
over as many times as he wishes, or to make the machine go back 
and repeat, many, many times, oftener than a teacher would be 
willing or able to repeat for him. 

Suppose a student wishes to study several languages. He can 
have a set of French records, a set in Spanish and a set in Ger- 
man, or in any other language, all at the same time. Having 
purchased the cylinders and the machine, there is no further 
expense attached to it and the student can prosecute his studies 
to any length, at his own pleasure. 

Nor is there the slightest difficulty in acquiring all the most 
difficult sounds in any of these languages. The German ' ' ich ' ' 
and the French nasals, reproduce perfectly. Take the word 
"marche" in French, m-a-r-r-r-ch (pronounced like sh). The 
breath sound of ch, surprising as it may seem, can be reproduced, 
if properly dictated, so that it will be heard through a large horn, 
clear across a large room. 

L,et a German teacher, with a full heavy voice, dictate to the 
Phonograph " Mein Kind, ich habe nicht daran gedacht," and 
the German guttural will be heard distinctly. The writer has a 



164 HANDBOOK OF THE PHONOGRAPH 

French cylinder which begins, " Monsieur Robert, est-il chez lui ? 
Non, monsieur, il est sorti. Ou etiez vous hier? Hier soir j'etais 
au concert. Combien d' argent avez vous dans votre portmonnaie ?' ' 
These sentences soon became so fixed upon his mind from constant 
Phonograph repetitions, that he could hear them ringing in his 
ears whenever the idea of French occurred to him. After a few 
days, about two pages of conversation contained on the first cylin- 
der, could be repeated understandingly and with the exact accent 
as given by the Phonograph, which had been previously talked 
into by a French teacher. This could not have been done in as 
many months with any ordinary method of teaching. French 
teachers will all admit that many times they have pupils who study 
with them for years and yet cannot speak. 

Say there are two hundred words made up into sentences on 
one cylinder. It takes about four minutes for a cylinder to run 
through. Now, if those sentences are listened to over and over 
again, with the eyes on the printed book, following every word 
as the machine speaks it, no better practice could be imagined. It 
is far better than the disconnected practice obtained in conversation 
with persons, many of whose words are not comprehended. It 
is useless to listen to talk in a foreign tongue, where the pronun- 
ciation is not understood and the meaning is a total blank. One- 
half hour's practice listening to the Phonograph and studying out 
the meaning from the printed translation accompanying it, also 
learning the rules of construction as laid down in the text books 
is worth more than a whole evening spent in disconnected 
conversations. 

Take a single sentence, for instance " Yo deseo hablar 
espanol." Repeat that sentence alone, many times, until every 
single sound and inflection is perfectly clear to the mind. Then 
turn to the grammatical rules given in the same lesson of the book 
and learn the reason for everything which is being listened to. 
After that is thoroughly learned, so that the student not only 
understands the construction but can also repeat the full sentence 



THE PHONOGRAPH AS AN AID TO LANGUAGE STUDY 1 65 

without the aid of either book or Phonograph, then let him take 
the next sentence. When that is learned proceed to the next and 
so on, until all are learned. Then let him start at the beginning 
and repeat the first sentence, then the second, then the third — 
until he makes a mistake ; then go back to the beginning again 
and repeat from the beginning. L,et him practice this until he 
can repeat the entire contents of that cylinder from memory. 

The pupil will thus commence from the beginning to acquire 
a special vocabulary, which, can be learned by no other way, except 
by years of toil and perhaps waiting for the opportunity when he 
can go to Paris, or to Cuba, only to find when he arrives there, 
that he belongs to that class of Americans who, it is said, al- 
though they study French in this country, cannot speak or under- 
stand a word of what is said to them on their arrival in Paris. 

The writer firmly believes that any one with a taste for lan- 
guages can learn three languages in his own home, with the aid of 
a Phonograph easier than he can learn one without the aid of the 
instrument. An earnest student can learn without the aid of a 
teacher. Of course, it is better to have a teacher too — but much 
tan be learned without a teacher, there is no doubt about that. 
If he could not have both — a teacher and a Phonograph, and had 
to choose between them, the writer would certainly take the 
Phonograph. 



CHAPTER V. 



The Phonograph as an Aid to the Arts of 
Stenography and Typewriting. 

Being a conversation and argument between Charles Freeman Johnson (a 
shorthand reporter of considerable fame and prowess) and Mr. Openeer. 



JOHNSON," said I one day, "you're a hard headed practi- 
cal business man ; what do you think of the Phonograph 
in every day business ? It is an acknowledged factor as 
a home entertainer ; but what do you know about the Phono- 
graph for practical business use ? ' ' 

"Mr. Openeer," he replied, "I know a lot about it; I've 
been a shorthand reporter for twenty years. ' ' 

Now, my friend Mr. Johnson isn't much of a talker ; his 
business is listening ; and he does a lot of it, (all the time writing 
while other fellows are talking). So I said, in a bantering way, 
to draw him out, ' ' Do you really think — ' ' 

" Do I think," he grew hot right away, " Do I think it's of 
any use ? After using it for ten years in my business ? After 
training hundreds of operators to earn their bread and butter by it ? 
After seeing our court stenographers earning big money by report- 
ing cases with its amanuensis aid, which they could not other- 
wise report without calling in the aid of other stenographers ? ' ' 
He paused for want of breath. 

"Say, Johnson," said I, "don't talk to me at the rate of 
250 a minute ; come down to 132 and tell me about it in a kindly 
and christianlike manner. ' ' 



THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 67 

"No I don't think," he went on again ignoring my inter- 
ruption, " I don't think the sun shines or the wind blows or that 
it rains or snows. I know these things absolutely, and I also 
know absolutely that the Phonograph in its sphere is just as im- 
portant a factor as the telegraph, the telephone, the typewriter 
and the stenographer are in theirs. The time was when no tele- 
phones were used, and not so very long ago there was no tele- 
graph and no typewriters, and a stenographer was a rarity ; now, 
we have all these things and we also have the Phonograph." 

When Mr. Johnson warms up, he is really quite eloquent. 

"Johnson," said I, " How does a typewriter come in on the 
Phonograph question." 

1 ' An operator becomes more expert through practicing from 
Phonograph dictation ; just as shorthand students train them- 
selves for the fastest shorthand reporting, by taking down short- 
hand exercises from Phonograph dictation." He whipped a 
letter from his pocket. ' ' Listen to this, ' ' he said. 

My Dear Mr. Johnson : — 

When I wrote you last fall, I was thinking about buying a 
Phonograph to be used as a dictator : in this way ; you see I am a 
stenographer, with a speed of 140 words a minute ; my object is 
to increase my shorthand speed, so all I now need is some one to 
read to me. My work being of such a nature, I cannot get any- 
body to read to me in the day, and when I get home at night it is 
too late to have a person read to me even at a reasonable price, 
should I hire one. So the idea came to me to get a Phonograph. 

Now I want to ask you a few questions concerning the Edi- 
son Home Phonograph, as that is the one I shall buy, the one 
for thirty dollars. 

Will it record my voice in such a manner that on being repro- 
duced I can write it down in shorthand just as though a person 
were reading to me ? Will every word be reproduced distinctly 



1 68 HANDBOOK OF TH£ PHONOGRAPH 

provided it is dictated distinctly ? If for instance, I take a clip- 
ping from a newspaper containing about one thousand words and 
dictate the same to the Phonograph at a rate of 180 words per 
minute ; could I make the Phonograph reproduce it at a rate of 
190 words and also at a less rate? In other words, can I make 
the Phonograph reproduce the same record very fast or very slow; 
and while being reproduced fast, can it be heard as distinctly as 
when reproduced slow, and also vice versa ? 

How many times will I be able to use the same record, and 
how many times can a record be shaved and a new record taken ? 
Please tell me what size horn I shall buy. Can I dictate through 
a horn or is it necessary to use a speaking tube ? 

If the Phonograph can do as above asked, I want you to buy 
me one. 

Yours very truly, 



Johnson folded this letter up and put it back in his pocket 
with a satisfied air. "I answered this letter," he said, "and 
told him that he couldn't do better than to buy a Phonograph 
right away, as it would do all he asked and more too. He can get 
800 to 1000 words on a record, and can reshave it a hundred times 
if he's careful about it. 

"That is certainly very much to the point," said I, "and 
now what else do you know. ' ' 

' ' I was stenographer in the famous Fair will case in San 
Francisco, probably one of the greatest cases ever tried in this 
country, lasting over five months. I saw page after page of daily 
testimony and arguments forming an exact copy of the complete 
proceedings ready by 9 o'clock the same night; thousands of pages 
in all, so that the judge and attorneys had the complete proceed- 
ings of each preceeding day before them upon starting work every 
morning. All this was done by one shorthand reporter, (your 



THK PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 69 

humble servant) , and two typewriters with the aid of the Phono- 
graph in transcribing. 

" I also reported the proceedings of the Trans- Mississippi 
Congress in 1894, both in St. Louis and in San Francisco ; 
the California Fruit Growers Association in Los Angelos in 1893, 
the American Publishing Association in Brooklyn in 1889 and 
the National Trotting Association, held in Buffalo in 1889 '■> an( i 
many others. So I guess you'll believe that I know what I am 
talking about. 

' ' Every person, no matter how ignorant, understands that it 
will require time to learn to become a good telegraph operator, 
and it takes many months and years to become a good stenog- 
rapher, and it seems funny that they should not think the same 
way about the Phonograph. 

1 1 Why should we spend time and money to learn telegraphy, 
shorthand and typewriting and then have an idea that no time is 
required to learn the Phonograph; the most delicate of all and one 
of the most useful. 

" The use of the .Phonograph must be learned, the same as 
anything else. But how easy it is to learn, and to use, when you 
know how. Take the easiest of all the foregoing arts, typewriting. 
Even that requires weeks to learn ; and months, perhaps years, to 
become expert. But the Phonograph, while it does require a little 
time to learn, yet needs but a few days to learn everything about 
it and only a few weeks practice to acquire all the dexterity in its 
use, that is necesssary to make it an indispensable adjunct to a 
skilful person's life. Yes, indispensable to life ; for life is not 
worth living without it to a man who really has much business 
requiring its use. I make the following broad statement without 
the slightest hesitation. 

1 ' Every person engaged in work of any kind requiring dicta, 
tion and typewriter transcription, can do this work with greater 
ease by dictating to the Phonograph than in any other manner." 



170 HANDBOOK OF THK PHONOGRAPH 

* ' Do you mean that the Phonograph will entirely take the 
place of shorthand," said I. 

" No, nothing of the kind." replied Johnson, " I believe that 
not in a thousand years will this ever happen. There are many 
cases where the dictation (from the circumstances of the case) can 
be done better in shorthand. For this reason the amanuensis 
stenographer will never be entirely displaced. The telegraph has 
not been displaced by the telephone ; the elevated railroads have 
not displaced the surface lines, nor has the typewriter done away 
with handwriting. More pens are manufactured today than 
ever before in the world's history. The greatest usefulness of 
the Phonograph for business purposes, lies in its value as an aid 
in developing shorthand and typewriting. It will make more 
work and increase the number of typewritists and make better 
operators of those who use it in their daily work, or in their 
practice as students. In many cases perhaps, it will take the 
place of the amanuensis stenographer, as any good typewriter 
can do all the necessary work from it without the aid of any 
shorthand whatever. But the same person doing the amanuensis 
stenography, will become the phonographist, receving more pay, 
for an expert phonographist and typewritist is worth more pay 
any time than an ordinary amanuensis stenographer. While it 
should increase the wages of the typewritist, it will save money 
for the employer, for far more work will be done by each operator. 

"It should be a part of every stenographer's education to 
understand the Phonograph thoroughly, to be able to dictate his 
notes, and, if a typewritist, to be able to transcribe from it. He 
should know everything pertaining to his art. The time is 
certainly coming when thousands of Phonographs will be in use ; 
when the sight of a Phonograph in a business office will be as 
familiar as the sight of a typewriting machine. 

" There are 3,000 business colleges and shorthand schools in 
the United States, averaging say 150,000 students of shorthand 
and typewriting. A large percentage of these will never pass the 



THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 171 

line of mediocrity, because they have not the general education 
and special talent required to make good stenographers. Yet all 
of these could become good typewritists and fill money earning 
positions, simply by learning the use of the Phonograph. With 
three months' study, they could take positions. If they wish 
to learn shorthand besides, they can get all the dictation practice 
so necessary, by writing down in shorthand selected dictation 
exercises previously dictated to the Phonograph. And it is so 
much easier for this sort of work to be done from the Phonograph, 
that it will ultimately result in its being done in this manner, as 
soon as the public and the operators find out how much better 
it is. 

1 ' Every student of shorthand should own one of these 
machines and have it in his own house for practicing shorthand 
dictation. It is far better than a human dictator. If the student 
asks a sister, or brother, or a friend to read for him, they soon 
tire out. Besides, the best of reading for practice is never quite 
satisfactory. But with a Phonograph, the student dictates any 
of the exercises he wishes to practice, at his own rate of speed ; 
then lets the machine talk it back to him at whatever rate of speed 
he may choose and he practices taking it down in shorthand, over 
and over again, as many times as he wishes, until he becomes 
thoroughly expert. 

1 ' The secret of speed in shorthand writing is constant 
practice on the same exercise, writing a paragraph over and over 
again, until it becomes almost second nature to write it. For this 
purpose, a Phonograph is simply ideal ; and it will not be long 
before every business college and shorthand school in this country 
will have an equipment of Phonographs for the purpose of giving 
their scholars dictation work, instead of paying teachers salaries 
for the purpose of reading dictation exercises to scholars, as they 
now do. 

1 ' Now letus come to the question of what class of people 
needs the machine most, and who can use it the most readily. I 



172 HANDBOOK OF THK PHONOGRAPH 

answer, court stenographers. Why ? Because, they have the 
most work of this kind to do. How do they do it ? Well, 
they report in court all day long, we will say. A reporter takes 
from 100 to 200 pages of shorthand notes a daj^. When court 
adjourns, he goes to his office and reads his notes into the Phono- 
graph. He simply talks them off from his note book, just as fast 
as he can possibly talk. It makes no difference to the type- 
writist how fast the dictator talks into the machine. He can try 
his skill in this direction and talk ' like lightning. ' As soon as 
the cylinder is full, it is turned over to the typewritist, who is 
waiting with another Phonograph and a typewriter. The reporter 
goes right on dictating another cylinder, as fast as he can talk. 
The typewritist meanwhile starts the first cylinder on her Phono- 
graph talking back to her. If too fast, she simply stops the 
machine until she catches up ; then she goes ahead again ; or she 
can set it back and repeat as many times as necessary. 

' ' With a good t}^pewritist, no repeating is necessary, for the 
reason that the reproduction can be regulated so that the talk 
will come off, not as fast as dictated, but at a very slow rate of 
speed. In this way an expert typewrtist can keep writing 
continuously, without making any stops, all the time keeping up 
with the machine. 

1 ' This develops great speed in typewriting ; and it is the 
experience of all operators using the Phonograph (until they be- 
come throughly expert with it) , that they prefer writing in this 
manner. They can turn out more copy than in any other way, 
with more ease and comfort to themselves. 

' ' Every typewritist knows how much pleasanter it is to write 
from dictation than either from copying or from shorthand notes. 
One half of the transcriber's time is wasted in deciphering notes. 
An expert transcriber from dictation can do as high as eighteen 
pages an hour, while the same operator, transcribing from short- 
hand notes, could not do more than ten pages an hour. This, 
of course, is the highest degree of skill. 



THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 73 

" With the Phonograph, the typewritist is not compelled to 
adapt her time to the reporter's, and it is a wonderful relief to 
him to know he can stop work at any moment, without wasting 
the time of another employee, in the middle of a sentence, or at 
the end, and go on again from the same place, whenever he is 
ready. He can be doing something else, while his work is being 
transcribed, releasing him from the drudgery of being tied down 
to the operator, waiting for the slower transcription ; when he 
knows he could talk so much faster. 

" In dictating to an amanuensis stenographer, the time of the 
employee in taking notes is entirely wasted, for if the dictator 
were talking to the machine instead, the amanuensis would be 
engaged in transcribing something else, or doing other work. In 
other words, the Phonograph gives both dictator and transcriber 
absolute liberty as to time. 

"If reporters can do this with the Phonograph, 'because 
they have so much of it to do,' how much easier it should be for 
other persons to use it, who have less work to do? 

' ' Not only is the Phonograph a benefit to the typewritist, 
but it is an educator to the person dictating. It will improve the 
the dictation of anyone using it. There are lawyers whose 
speeches at the bar are models of diction ; not requiring the 
slightest change after delivery. But there are many others, if 
their speeches were reported word for word as delivered, who 
would deny they ever uttered them. To such men, the habit of 
dictating to a Phonograph would be invaluable ; for it would force 
them to think, before beginning to talk ; to put their language in 
proper form for expression and not leave the auditor to imagine 
from their disconnected words what they really mean to say." 

1 ' As far as the talking quality of the Phonograph is con- 
cerned, it is to-day perfectly satisfactory. If the cylinder is prop- 
erly shaved so as to present a smooth and highly polished 
surface, and the record is properly dictated, in the right tone of 
voice, with the mouth at a proper distance from the speaking 



174 HANDBOOK OF THE PHONOGRAPH 

tube, the reproduction will be perfect. It will be so clear that 
no one can have the slightest difficulty in understanding it, quite 
as well as if spoken in the ordinary manner. 

Dictating correctly, without mistakes or changes, is entirely 
a matter of habit. With a little practice a dictator can form the 
words in his mind, so as to utter them rapidly, without correction. 
Should an error be made, it can be indicated to the typewritist 
before it is written, by simply saying at once, 'mistake.' If a 
change is required in matter dictated some time previously, it can 
be made readily by a simple memorandum on the slip of paper 
used to number the cylinder, calling the typewritist' s attention to 
the same. The typewritist, seeing the memorandum, will catch 
the change before commencing to write, by listening for the part 
to be corrected. 

" No judgment as to the usefulness of the talking machine 
for this work can be formed by listening to ordinary music, singing, 
or comic speech records. These give no idea of the clearness of 
reproduction for real work, with records properly made for the 
purpose. When dictation is carefully and properly done, pitch 
and timbre are in the record ; the accent is clear and distinct ; 
every change and inflection is noted, also the rise and fall of the 
voice ; all in fact, that is required for reproduction of the work. 
Any typewritist with one week's practice in listening, can there- 
after distinguish every word spoken to the machine, without the 
slightest difficulty. 

" No one starting to use a Phonograph, should begin it with- 
out carefully considering every detail, having full instructions 
from those understanding it and having all the appliances 
necessary to make it a success. Where any failure is recorded, 
it is always due, not to any inherent inability in the machine for 
such work, but either to trifling mechanical defects, possible in 
any piece of machinery, or else to lack of intelligence on the part 
of either the dictator or the typewritist. 



THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 75 

1 1 If the first trial of the Phonograph is not pleasing, try it 
again and persevere at it. It is like every new exercise. The 
first day of bicycle riding is unpleasant ; the first trial of skates 
on ice may be disastrous ; the first week of typewriting is very 
discouraging. But stick to it. Give the Phonograph a thorough 
trial of two weeks. Then, if you do not like it, you may rest 
assured it is only because you are doing something wrong and 
require a little instruction from some expert operator to show 
you where the difficulty is. 

" One machine is not enough ; there should be two. There 
must be a stock of cylinders, at least a dozen, and in a short- 
hand reporter's office, as many as 150 cylinders should be on hand 
ready for use. 

' ' There should be a separate shaving machine and some one 
person trained to shave cylinders, whose duty it is to see that 
prepared cylinders are always ready for the dictator, standing in 
the proper receptacle alongside of the dictation machine. 

' ' The machine should be thoroughly and regularly cleaned, 
so as to require no attention by the dictator. Its running parts 
should be freed from wax and dirt daily, and carefully oiled. 

1 ' The recorder and reproducer should be examined to see 
that they are in perfect order and should always be kept in 
receptacles provided for them, so that they are always ready when 
wanted and never broken by being laid down in unexpected places. 
With the best of care, the glass diaphgrams are liable to be broken 
by accidents ; for this reason, it is well to keep an extra recorder 
and reproducer on hand for use, while a broken piece is being 
repaired." 

' ' Make it a rule never to touch the outside, or talking sur- 
faces of the cylinders with the hands, and never allow anything to 
strike them. Do not let the cylinders rub against one another. 

" Remember that the Phonograph, like the human voice, 
being designed to perform most delicate work, is a very delicate 
instrument, requiring the best of care and skilful handling, such 



176 HANDBOOK OF THE PHONOGRAPH 

as any person of ordinary intelligence is able to give ; and that 
provided simply a little thoughtful attention is given to all its 
details, the results obtained are the most satisfactory and pleasing 
of all the devices introduced into the work-a-day life of the 
nineteenth century, for the aid of mankind in intellectual pur- 
suits. 

! ' The best place for a typewritist to learn this work is in a 
shorthand reporter's office, where there is plenty of work. The 
typewritist is then competent to fill any position where a talking 
machine is used. If such a typewritist, taking an interest in the 
work and thoroughly understanding the machine, will instruct 
the dictator how to use it (if not thoroughly conversant therewith) , 
it will work with great satisfaction." 

1 'A busy man's time and brains now-a-days are worth too 
much for him to spend himself in the old ways of doing work, to 
say nothing of the saving of nerve power and physical energy, 
when a Phonograph can be obtained for such a reasonable sum. 
He can have a machine at his house and another, perhaps two, at 
his office. He can go home at night, sit in his own room in ease 
and comfort, and dictate at his leisure, taking the work to his 
office the next morning to be transcribed by the typewritist. 

' ' Many of the best shorthand reporters, all over the United 
States are now using this machine in their offices for transcribing 
their notes, and hundreds of the machines are in use in business 
houses where the heads of the various departments have learned 
to dictate their letters in that way, where they have long since 
passed the stage of experiment ; so that they now say, under no 
circumstances would they go back to the old way of correspond- 
ence by dictating in shorthand. 

1 ' The time is coming when business and professional men 
will be ashamed to admit that they have not sufficient intelligence 
to dictate to the Phonograph, and when no typewritists or stenog- 
raphers will consider their education complete without a thorough 
knowledge of the machine and skill in using it." 



CHAPTER VI. 
Three Greek Roots. 



PHONE : the voice. Its use in such 
CfJC02S7j — English words as telephone, pho- 
netic, euphonious and megaphone, 
tells the story of its meaning. 

GRAPH : to write. As used in 
ypCCCpELV* § ra P hic > telegraph, and autograph, 
J I ' its meaning is clearly explained. 

Hence, Phonograph: the voice — to write. In other 
words, a device for writing or recording sound. 

GRAM: that which is written. As in 

ypCC/JLLLCUz the wor ds grammar and telegram. 

-'' Hence, Phonogram: the voice — 

that which is written. That is to say, sound recorded; or, 

as applied to Mr. Edison's invention, a Phonograph 

Record. 

ABOUT TALKING MACHINES IN GENERAL. 

AT first there appears to be a wide choice when one decides 
to buy a Talking Machine. Besides the Phonograph 
(Thomas A. Edison's original invention), there are on 
the market a large variety of "grams," "graphs" and "phones," 
subsequent inventions or modifications of the Original Edison 
Phonograph. Not content with copying the general features of 



178 HANDBOOK OF THE PHONOGRAPH 

the first Talking Machine, the names also for the various models 
are adapted from the titles chosen by Mr. Edison to describe the 
machine he invented and the record it made, of hitherto unseen 
sound waves. The result has been a confusion of names ; and the 
public is to-day at a loss to know exactly what does, and what 
does not constitute a Phonograph, and a Phonogram or Record. 

DIFFERENT TYPES OF TALKING MACHINES. 

The most sweeping classification of Talking Machines would 
be : 

The Phonograph (Class 1). 

All other Talking Machines (Class 2). 

This would not be just, however, in classifying as to types ; 
for many well-known Talking Machines are very similar to the 
Phonograph in their general characteristics ; the difference being 
mainly in their structural inferiority and consequent inability to 
do fine work. 

As to types, therefore, there are but two Talking Machines — 
one. using cylinders of wax or similar compositions, and the other, 
flat discs of hard fibre or metal. 

With machines of the first type it is possible for any one to 
make a record, either of the voice, of musical instruments or, in 
fact, of any kind of sound. The waves of sound, playing upon a 
sensitive diaphragm, cause a sapphire stylus to engrave or indent 
upon the smooth wax cylinder indentations corresponding to the 
pitch or intensity of the sound. The cylinder revolves as the 
sound is continued, causing a succession of indentations to appear 
on the wax surface, in the shape of a long spiral groove. This 
constitutes a Phonogram — a "writing of sound" — a Record. 
When the sapphire point is set back at the beginning of the groove 
and the record revolves, it is vibrated by the indentations, making 
the sensitive diaphragm in turn to vibrate and to give off again 
the same sounds that caused the indentations. 



THREE GREEK ROOTS 1 79 

With machines of the second type it is not possible to make 
records except with very elaborate and costly machinery, and the 
use of chemicals and acids. The groove is first traced on a flat 
disc by a stylus, vibrating sinuously, that is, sideways, instead 
of in-and-out as with machines of the first type. This groove is 
afterwards bitten deeper by the use of acids ; thus destroying in a 
measure the absolute value of the sound writing. It is as if a 
child with a black blunt lead pencil should trace over the delicate 
strokes of a fine signature. The inaccuracies of the result are 
plain to the eye and ear. When the reproducing stylus is placed 
at the beginning of the groove and the disc is revolved, a harsh, 
grating sound is heard, in addition to the sound waves recorded. 
This is known as the "scratch of the needle" and is pronounced 
by musical experts to be a most radical objection ; not taking into 
consideration even the fact that with this type of machine one 
cannot make his own records ; which is more than one half the 
fun of owning a Talking Machine. 



THE CHOICE OF A TALKING MACHINE. 

That Talking Machine is best which is most complete. 
Viewed from the standpoint of absolute merit, the wax cylinder 
machines present the means for the widest enjoyment. With this 
type it is always possible for an amateur to make records, and 
they are superior in every way to the "flat disc" machine, with 
its gritty "scratch of the needle" and its acid-etched record. 

With the complete wax cylinder Talking Machine, not only 
can records be reproduced that are especially prepared by experts 
in the art, but also records that are made at home. Not only are 
famous singers, bands, instrumental soloists, actors and vaudeville 
artists brought into your very home, but you have the enjoyment 
of making records of your own voice, your children's voices, your 
friend's banjo, cornet and piano playing. 



l8o HANDBOOK OF THE PHONOGRAPH 

With the choice thus narrowed down to complete machines 
of the wax cylinder type, there yet remain two considerations — 
Price and Quality. 

It is a well known fact that the cheapest goods are not 
usually the best. A certain value must be asked for value given 
in manufacture. A dollar watch is made to sell. It is a good 
thing in its way, but for time-keeping it is a superfluity and a 
source of annoyance. A cheap bicycle is made to sell. It is a 
pretty thing to look at, but one buys a wheel to ride, not to put 
into a glass case. A cheap Talking Machine that is made to sell 
will make a noise ; its wheels will go around, but that is its limit. 

It is also a well known fact that a great man with a great 
name and a great reputation, will use every power and exercise 
every care to uphold the high standard that the use of his name 
demands. There can be but one conclusion. To paraphrase the 
cry of Islam, "There is only one Talking Machine, and its name 
is the Phonograph. ' ' 

ALWAYS LOOK FOR THE TRADE MARK. 

All Genuine Edison Phonographs bear the name of the in- 
ventor — Thomas A. Edison. That is the hall-mark of the 
genuine article. Other Talking Machines may look like the 
Phonograph ; may appear to run as true and as smooth as the 
Phonograph ; may even be called, unscrupulously, by the same 
name, but no one need be deceived. 

The signature of Mr. Edison is on every Phonograph ; with- 
out it no other machine is genuine. 

Phonographs are made with the delicacy and accuracy of a 
scientific instrument. They run smooth and true and govern 
perfectly. This explains their use by other companies in making 
fine high-priced musical records. 

Edison Records are the best in the world. Not only is the 
best talent obtainable employed in the music-rooms at the Edison 



THREE GREEK ROOTS l8l 

Laboratory, but the records are made on Kdison Blanks. This 
is a fact that speaks volumes to the Talking Machine expert. 

Kdison Blanks are chemically pure. They are recognized as 
Standard the world over. 

They have no successful rival in the market. There is no 
Talking Machine company or infringer who does not recognize 
this fact and there are no records worth having that are not made 
on Kdison Blanks. Other kinds are gritty, harsh and unservice- 
able, and little, if any, cheaper. The following, from a recent 
publication on the subject, covers the ground truthfully : 

1 ' While the ingredients that compose the Kdison Cylinder 
are not unknown in the art, the secret of their chemical combina- 
tion still remains with Mr. Kdison. Other cylinders, made in 
imitation of his, and cast in the same form, lack the qualities 
essential for record making and other characteristics that give a 
cylinder permanent value." 

RECAPITULATION. 

A Phonograph, any style, playing an Kdison Record, any 
kind, made on an Kdison Blank, is Perfection. 



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